Chapter 8: Early Medieval Art - Early Medieval Art
March 06, 2016
Chapter 8:
2.
Early Medieval Art
Early Medieval Art
"Middle Ages"
Medieval
400-1400
Migration Period
375-750
Medieval
400-1400
Migration Period
375-750
Dark Ages
565 - 768
1
Chapter 8: Early Medieval Art - Early Medieval Art
March 06, 2016
1.
Historical Background
"Middle Ages"
Dark Ages
J- Map M2
Medieval =
Medieval
400-1400
400- 1400
(5th - 15th c)
between fall of Western empire and the
Renaissance
Center of
European
civilization shifted
from
Mediteranean to
north of Alps
Migration Period
375-750
was thought to be rough, barbarous-uncivilized
Dark Ages = 200 yrs
betw death of Justinian (526-565)
& reign of Charlemagne
(768-814)
Dark Ages
565-768
Now we think = "Age of Faith"
Two things were necessary for the development of
medieval civilization.
Early Med
ends 10-11th c
1. Christianization of the Germanic Tribes
by the Celtic monks
Romanesque
10-12th c
2. unification of Western Europe.by
Charlemagne ( end of the 8th c )
Gothic
12th into 15th c
3 major interrelated elements
formed basis of Medieval civilization.
a.
b.
c.
Greco - Roman tradition
Celtic- Germanic peoples (new energy)
The Christian Church / Christianity
Ultimately led to Feudalism patronage/dependence
nobles
church officials > and< less powereful
material support of church & secular leaders
Church bevcame repository of learning
Patrons = church officials & nobility
Celts converted to
Christianity in 5th c CE
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Celts
The Celts once covered a large area
expanding from central Europe and Fance
and then into Ancient Briton,
Ireland, and Wales.
Angles and Saxons
pushed the Celts,
by then known as the Britons,
to the western shore of Britian.
Migration period in Europe is generally dated
from 375 AD, the arrival of the Huns,
to 750 AD.
Toward the end of this period the groups settled
down and were gradually converted to Christianity
by missionary monks
Celts converted to
Christianity in 5th c CE
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The Migration Period
The Animal Style: Scythian Antecedents
Art of the Germanic Peoples
Germanic tribes entered Western Europe during
years of Roman Empire
H12-2
In their nomadic gear, they carried elements of the
widespread ancient tradition of the anmimal style
J127
J128
Scythian Gold
Ornament
S Russia
Animal style
symmetry
combo of abstract and organic shapes
combo of formal discipline &
imaginative freedom
depict animals in their entirety from a variety
of perspectives
- profile
- above
- x-ray
emphasize fantastic animal forms
= Imp element of Celtic Germainic art of Dark Ages
Extra
4
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G8-2(a)
Frankish ornaments,
6th and 7th c . (a)
looped fibula (4"
long), silver gilt
worked in filligree,
with inlays of garnets
and other stones,
Musee des
Antiquities
Nationales, St.
Germain-en-Laye;
G2-44
G8-2(b)
(b) round fibula
(diameter 3 1/4",
gold, cloisonne
technique, inlay of
garnets and blue
stones. City of
Liverpool Museums.
Aesthetic sense of the Celtic & Germanic
peoples
Celtic Germanic
= essentially abstract (G8-2).
preferred extremely complex abstract shapes
and rich decorative surfaces
not realistic depictions of objects or people
Fibulae
= elaborate jeweled brooches
most typical works of the migration Period
Goths learned to make at the Black Sea
Some = decorated with animal motifs heads, masks, bodies, and curved beaks
Imagery=Derive from
the earlier Animal style
Luristan bronzes of Iran
and Scythian gold ornaments from S Russia
All forms conform to the underlying geometric
organization of the piece.
Animal motifs
most likely came through the nomads that the
Goths had contacted above the Black Sea.
Principal medium of animal style
= Metalwork in variety of materials
exquisite craftsmanship
Many in cloisonné.
w enamels, garnets, & other semi-precious stones
used difficult techinique of granulation,
which = soldering tiny grains of gold, silver, or
copper onto the ground.
more minute the grains = the better technique
See Instructors Guide
5
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G8-7
Tara Brooch,
Ireland, c 700
Bronze with
overlay of gold
filigree, glass and
amber settings
Tara Brooch
Celtic
used difficult technique of granulation,
which = soldering tiny grains of gold, silver, or copper
onto the ground.
more minute the grains = the better technique
Hiberno-Saxon style features:
Threadlike refinement of detail-- chip carved,
engraved, inlays of silver/ copper
Migration vocabulary = interlaced birds,
animals, and humanoids, strap works,
scrolled bands and ribbons, whorls, knots,
bosses
Density of ornamented elements.
Irish monks utilized motifs from both the
Celtic & Anglo-Saxon Germanic tradition
blending the two into richly interlaced,
ornamental compositions
c. 700 Celtic Germanic
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Vikings
G8-4
Prow of the Oseberg
ship,
early 9th century.
J386A
G8-5
Animal head post
from the Oseberg
ship burial,
c 825.
Wood,
apx 5" high.
G8-17
Mounted Warrior with
Captive (detail of god
vessel; vessel 8
3/4"), from the Nagyszent-miklos treasure
hoard found at
Sinicolaul, Romania,
probably ninth
century.
pagan until the beginning of the 11th c
continually harassed England and Ireland,
Sailed to Spain (G8-4)
Sailed through the Straits of Gibraltar
to gain access to rich Meditteranean ports.
The Christians of these shores
were also continually
under the threat from the Moslem Saracens who
came over from North Africa
and the pagan Magyars of Hungary (G8-17)
These were rough years for Europe,
which was tryng desperately to mold a new
civilization out of the shattered remains of Rome
and the energies of the Germanic tribes.
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G8-4
Prow of the Oseberg
ship, early ninth
century.
S14-01
Prow of the
Oseberg ship,
early ninth
century.
Viking ship
from Osberg (G8-4).
9th c
wooden ship
Sutton Hoo treasure was originally placed in
similar ship
Vikings=
Norse pirates
Pagan, seafaring
Viking ship burials were usually conducted at sea, 9th - 11th c raided
Celtic and Germanic
with the ship set afire and pushed out
but some were buried in the ground
for instance the Osberg ship found in Norway.
when christianized
(beginning 11th c)
they settled down
to become the
NORMANS
75' long
burial site: 2 women (1 maybe a willing sacrifice)
Along bow and stern was a band of low relief on
animal interlace
Cabin:
women laid out on separate beds
comforters, blankets, pilows
empty chests for precious goods
2 looms
tapestries on the walls
Ships as sleek sea serpents
Prow an stern rise/coil like a serpents tail
Perhaps to terrify enemies or
to protect against evil forces
On Board:
sacrifices: 14 horses, 3 dogs, ox
carts and sleds of carved wood
Beowulf
old Germanic tale
describes such a
burial
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Animal Head Post - from Oseberg ship
(G8-4).
9th c
G8-5A
DETAIL
Animal head post
from the Oseberg
ship burial,
c 825.
Wood, apx 5" high
J386
G8-5
Animal head post
from the Oseberg
ship burial, c 825.
Wood, apx 5" high.
ship = carved w elaborate animal interlace
topped by the head of a ferocious animal (G8-5)
Animal style
flourished in Scandinavia longer than
anywhere else
.
composite
basic shape of the head =
details of teeth, gums, nostrils=
realistic
surface = interlacing and geometric patterns that
clearly derive from the metalwork techniques
gripping beasts
faceted cutting catches light
These forms endowed the character of mythical sea
dragons.
9
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Parish Church
Wood Stave Church
c. 1050-1070 CE
S14-06
G8-6
Wood carved
ornament (porch of
stave church), Urnes,
Norway, 11th c
When the Vikings were Christianized,
decorated their wooden stave churches with the
same motifs. (G8-6)
Vikings Christianized in
beginning of 11th c
This style= known as Urnes
church entirely rebuilt in
12th c
Urnes style:
serpentine creatures
gripping beasts
satin smooth carving
rounded surfaces
contrast of thick and thin
harmonious balanced figure 8 patterns
Persistence of Scandinavian mythological tradition
into Early Christianized era
Romans--- Britian
55-54 BCE
Roman control --- 43 CE
Roman Britian high wealth 296-370 CE
Romans abandoned Britian to defend Gaul 406 CE
Ireland never under Roman rule
Vikings Christianized in
beginning of 11th c
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Fusion of Romanized British & Germanic cultures
ANGLO- SAXON
Celtic
Roman
Germanic
Anglo Saxon literature:
Beowolf
Sutton Hoo
Celtic/Germanic
Hiberno Saxon
excavated 1938-39
Hiberno Saxon =
Anglo - Saxon
artist under Irish
direction
ship burial
of an Anglo- Saxon king (Raedwald) (?Anna)
who died in 654
contained objects from Luristan & Byzantium
and magnificent gold jewelry decorated with
garnets, mosaic glass, filigree, & animal
interlace made in England
Suffolk, England
these items = eagerly
sought after
quick fusion of
repertory of forms
body buried in a ship
body disintegrated, no inscriptions
assoc coins date the burial- early 7th c CE
Treasures in tomb
show htat he was a
wealthy man
Ship = 85' long
shaped like Oseberg ship
had armor,
equip for afterlife
luxury items
Interlacements combined w/ animal motifs
Zoomorphic elements, cloisonnÈ
Animal style
symmetry
combo of abstract and organic shapes
combo of formal discipline &
imaginative freedom
depict animals in their entirety from a variety
of perspectives
- profile
- above
- x-ray
emphasize fantastic animal forms
Metalwork (exquisite craftsmanship)
principal medium of the Animal Style
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J385
G8-3
Purse cover from the
Sutton Hoo ship
burial, from Suffolk,
England, c 655. Gold
and enamel, 7 1/2"
long
Zc12
Hinged Buckle (Gold
fillifree, garnets &
millefiori enamels
Sutton Hoo
625- 33
Sutton Hoo Purse
4 pairs of symmetrical motifs
(Each distinctive)
Sumer- 300 yrs earlier
1. Standing man betw confronted animals
For Christians,motif = Daniel in the Lion's den.
Raedwald = ?Christian?)
King Anna = Christian
could be interpreted in Christian sense.
J113
G2-19
Soundbox of Lyre,
Sumerian
ca. 2600 BC
Sumer
Gilgamesh & his
lions
old symbol of
hero's conquest of
forces of nature
May have dervied
from Roman object
image of ruler
between eagles or
columns
2. Eagle pouncing on ducks
sim to pairings of carnivore & victim in
Luristan bronzes
3. Interlace Design above eagles /ducks
more recent origin
fighting animals whose tails, legs,
and jaws are elongated into bands
form a complex interlacing pattern
4. Pure geometric - HEXAGONS
Interlacement as ornamental device occurred in
Roman and Early Christian art espec along
southern shore of Med
but its combo with animal style
= invention of Dark Ages not long before the
purse cover.
Forms of animal style
migrated geographically
& into different media such as
wood, stone, and manuscripts.
Sutton Hoo = 625633
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Hiberno-Saxon
G8-7
Tara Brooch
7th & 8th c
Hiberno-Saxon=
Hiberno-- refers to Ireland
Saxon refers to England before Normans
"Insular"
Refers to the fusion of elements of the AngloSaxon or Celtic style with Meditteranean
models
Extra
Hibernia =
Roman name for
Ireland
Decorative style of Irish- English islands
Earliest Christian works made north of the Alps =
pagan Germanic version of Animal style
Irish (Hiberians) = spiritual & cultural leadership of
Western Europe
600- 800 = Golden Age of Ireland
Monasticism
founded in
4th c
by St Basil in East
Irish (unlike England) were never part of the Roman
Empire
Missionaries
in 5th c took gospel to Ireland from England
found a barbaric society ( by Roman standards )
Became Christian
came into contact with Meditteraen civilization but
did not become Rome- oriented
adapted what they received withn their local vigorous
framework
By Benedict
in 6th c
in west
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the institutional framework of the Roman church was
essentailly urban
and ill suited to the rural character of Ireland
The Irish followed the example of
the desert saints of Egypt and the Near East
who left the temptations of the city to seek
spiritual in the solitude of the wilderness
These early hermits had estabilished the earliest
monasteries.
By the 5th c monasteries had spread to western
Britian but only in Ireland did monasteries take
over the leadership of the church from bishops.
Irish monastereis, unlike those in Egypt became
seats of learning and the arts
Developed missionary fervor and estab monasteries
in Britian and
on Mainland from Poitiers to Vienna
Speeded conversion of Scotland
n. France
Netherlands
to Xtianity
Germany
Estab monastery as cultural center
Their continental foundations were taken over by
Benedictine monks who were advancing north
from Italy during the 7th and 8th c.
But the influence of the Irish would continue to be felt
for sevearl hundred years.
St Pachomius
organized in
settlements
St Anthony
live alone as a hermit
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Hiberno Saxon
Manuscripts
Had to produec copies of the Bible and other
Christian books to support their mission
Writing workshops = scriptoria
which became centers for artistic activities
Ms of the Word of God was a sacred object whose
visual beauty should reflect the imp of contents
Familiar with Early Christian examples
they developed an independent tradition instead of
simply copying the original
Ilustrating biblical event held little interest for them,
devoted great effort to decorative embellishment
Three groups of Hiberno-Saxon Manuscripts
1. Durrow Echternach Group
2. Lindisfarne- Amiatinus Group
3. Kells- St Gall group
INK
Durrow Echternach
Group
1. Durrow Echternach Group
Z95
Symbol of St
Matthew
Book of Durrow
Book of Durrow
Dublin, Trinity College 57. Late 7th c
Northumberan. Latin Gospels. Belonged to Durrow
Monastery in King's County. 6 pages of decoration:
Carpet pages with circles
Carpet page with cross
Page for each of the Beasts of the Evangelists
Symbol of St Matthew
Least complicated illustrations
Ref to evangelist symbols
Carpet pages= purley decorative
No wings or halos
S14-08
Lion
Book of Mark
Gospel Book of
Durrow
Format / text reflects knowledge of Roman/Xtian prototype
Decoration = Local design motifs, metalwork
Lion = ssharp claws, jagged teeth, curling tail. Wild eye
Forms around lower body pted ellow to resemble gold
Two types of ribbon interlace - Lion page
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
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J388
St Mark from
Echternach Gospels
c 690 - 700
Hibern- Saxon
St Mark = Lion
Echternach Gospels Paris BN lat 9389. c 690
(Epternachensis) found in Luxembourg
By a north English artist. Better designs than Durrow MS
Belonged to a A-S missionary Willibrord ("Gospel of St
Willibrord")
Evangelist symbols look like enamel and
metalwork
Still just stylized animals, no wings or halos.
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
Hiberno= Ireland
Hiberno- Saxon illuminator generally retained
only the symbols of the four evangelist since Saxon= England
these could be translated into their
Fusion of elements
ornamentsl idiom without much difficulty
ST Mark Here the lion is sectioned and patterned like the
enamel inlays of the Sutton Hoo purse
cover and the carpet page from the
Lindsifarne gospel
Masterful balance between shape and the
geometric framewok on which it
supermposed.
Includes the inscription.
imago leonis
of Anglo-Saxon or
Celtic with Medmodels
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2. Lindisfarne- Amiatinus Group
Lindisfarne Gospels
London, BrtLib.Cott. Nero D. IV c. 700
Z96
K16
K17
Northumbrian. "The Durham Book". Written in honor of
St Cuthbert
Eadfrith's (writer) synthesis of various sources.
Mostly in Latin; interlinear gloss in Old Northumbrian
= earliest English version of the gospels in existence.
c 259 pages
5 carpet pages;
6 ornate pages;
16 canon tables.
MONOGRAM page = Matt 1:18
Ornamental Cross
Page
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
Figure subject based on Codex Grandior of Cassiodorus
but style is flat
G8-10
St Matthew, from
the Book of
Lindsfarne, from
Northumberland,
England, late 7th
c, Apx 11" x 9".
British Library,
London
J387
G8-8
Ornamental page
from the Book of
Lindsfarne, from
Northumberland,
England, late 7th
c, Illumination
apx 13" x 10"
Carpet Page
A rich interlace covers the cross from the socalled "carpet page". (G8-8) from the
Lindisfarne Gospels, a manuscript that was
illuminated at the monastery of Lindisfarne in
the late 7th c.
12.
List three characteristics of the style utilized
on the ornamental page from the Book of
Lindisfarne (G8-8)
a.
intricate ornamental patterning, in tightly
compacted design
b. serpentine interlacements of fantastic animals,
devoured each other with writhing, elastic
shapes
organic and geometric shapes are kept separate
c.
Rhythm of expanding and contracting forms
produces an effect of motion and change
Inscribed cross, regularizes the rhythm of the
serpentines
Symmetries, inversions, reversals
Zoomorphic forms intermingled with clusters and
knots of line
Rich, cool, low intensity color
Even surface created by harmony of color and
maximum motion of figure and line
Intricacy and precision
Hiberno-Saxon
LindisfarneAmiatinus Group
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St. Matthew
G8-10
St Matthew, from
the Book of
Lindsfarne, from
Northumberland,
England, late 7th
c, Apx 11" x 9".
British Library,
London
Lindisfarne
Rules = concerning symmetry
mirror imaes effects
repetitions of shapes & colors
Hiberno Saxon reperesentationl images =
generally only retained symbols of 4 evangelist
A very different type of illumination from the same
manuscript is seen in the portrati of the
evangelist Matthew that was placed at the
beginning of his gospel (G8-10).
One of four evangelist pages
Here the artist had obviously tried to copy a
Byzantine model, for he has attempted to make
the figures look as realistic as he could.
He got a bit carried away with the abstract
patterns of the saint's robe, but he has struck
close to his model.
This manuscript is a fascinating one for it
combines the Geramnic rigid organization of the
page with the swirling Celtic decorative filling.
14.
Why did Medieval manuscript illuminators
copy earlier examples rather than working
directly from nature?
pictures must be rendered faithfully just as the text
must be if the copy is to be HOLY.
Source with sacred authority
13.
In comparison with the illumination of
Hiberno- Saxon manuscripts, those produced
by the monastic orders that accepted Roman
orthodoxy are apt to be characterized by:
Hiberno-Saxon
hard, evenly stressed line, no modeling,,
linear pattern
"Roman followers"
Pictorial illusionism
Figures modeled from light to dark tonal picture
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Codex Amiatinus
Hiberno - Saxon
Florence, Laur. Amiatinus 1. Before 716
Winged man
St Matthew
We know that the precious manuscripts were
brought to monasteries to be copied, for we
have a record that the CodexAmiatinus (G8-9)
was one of the three copies made at the
English monastery of Jarrow of a
manuscript brought by the Bishop of Jarrow
from Rome.
Ox St Luke
Lion
St Mark
Eagle St John
Wearmouth/ Jarrow. Written in UNCIAL style for Abbot
Ceolfrid.
Oldest complete Latin Bible. 1030 folios. Weighs about 75
lbs
Abbot had three copies, one was to be for pope but Csofrid
did not get that far
Ceolfrid intended to take it to Rome but died in France along
the way
The MS reached a Monastery on Monte Amiato -- got to
Florence, 1782
3 minatures: is mostly text
f. 2v-3 Diagram of Temple (?Solomons Temple in
Jerusalem?)
f.5
Ezra -- 9 volumnes in bookcase = 9 codices of
the Bible- thought to be Cassidorus
f. 796v Christ in Glory--in a circle (not mandula)--4
beasts--4 evangelists
G8-9
The Scribe Ezra
Rewriting the Sacred
Records, from the
Codex Amiatinus,
Jarrow, early 8th c.
Apx 14" x 10"
Codex=
The artist who made this copy seemed to have a
much better understanding of his original than
did the copiest at Lindisfarne,
for the furniture seems to be depicted more
effectively in space,
even though it was agian Byzantine reverse
perspective that was used.
The artist also did a
better job of articulating
the forms of the human body,
although there is still a roughness about the
copy that one would undoubtly not have found
in the original.
This = one of the oldest
Complete Latin bibles
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3. Kells- St Gall group
St Gall Gospels St. Gall MS 51 (Switzerland) c 750760
Founded by Irish monk
f. 7 Chi Rho Monogram
f. 78 Evangelist & 4 symbols
f. 266
Crucifixion
f. 267
Last Judgement
Kells- St Gall group
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
Vellum = calfskin
Z98
f. 7v
MADONNA
Z.c.15
XP
Chi Rho Iota page
Book of Kells-
Kells- St Gall group
Dublin, Trinity College 58 8th / 9th c
Produced at ? IONA? (late 8th c)and carried to Kells
when monks fled the Vikings (late 9th c)
(?) Influenced by Carolingian Ada MS (?)
f. 7v MADONNA = first seated HODEGETRIA in the
west
None of others have Madonna
So must have been more contact with Latin
Temptation of Christ
Inserted some fig subjects, head terminal, cats &
Book of Matthew - 1:18-25 which begins account of Christ's bith
Greek letters Chi Rho Iota = abbreviation for Christi
Irregular shaped form = resembles metal brooch
1st glance = abstract
Chi -- lines ripple out from arms of Chi
? - suggest water - reference to mystery of Christ conception &
birth
or
? - 4 rivers that flow from heaven bringing helthto church
RHO - curve of Rho - center of page ends with head of youth red hair
Perhaps - Christ, the heart of the world of the world, from flow of
rivers of health
X
Left -- 3 angels <=?repres heaven or air>
hold left edge of Chi
Below to the right of angels - long swept stroke of Chi
tumbling cats and mice echo combat of Anc Near East
One of the most
beautiful, oriinal and
inventive of HibernoSaxon gospels
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Crucifixion
Bronze plaque from Book Cover - 8th c AD
J389
Crucifixion
Plaque from
Book cover 8th c
CE
Bronze
Human figure remained beyond Celtic or
Germanic artist reach for a long time
Inabilit ot concieve of humnan frame as
organic unit
Head, arms, feet = separate elements joined
to central pattern of whorls, zigzags, interlace
Lombard Style
J390
Balustrade relief
inscribed by the
Patriarch Sigvald
(762-76 AD) prob
carved c. 725-50
AD
marble , apx 3 x
5'
Bronze
Lombards (northern Italy)
All evangelist figures have same spidery front
legs
Bodies = head & wings and spiral tail except
for angel
Well developed sense of ornament
Flat symmetrical pattern
Design may have been derived from orientl
textiles
Head, arms, feet = separate elements joined
to central pattern of whorls, zigzags, interlace
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@@@@@@@@@@@@@@@@@@@@@@@@@@@
Carolingian
Charlemagne revolution
Energetic, brilliant emulation of the art, culture, and political
ideals of Christian Rome. c late 8th c - early 9th c
15.
When was Charlemagne crowned as head of
the Holy Roman Empire?
800
Where was his capital city?
Aachen
List two works commissioned by
Charlemagne.
Collecteion and copying ancient Roman literature
Coronation Gospels
Palatine Chapel
The empire built by Chaarlemagne did not last for
long
843
Treaty of Verdun
Grandsons divided it into 3 parts and were
incapable of ruling even these and power
reverted back to the local nobility.
The Carolingian revival
may be termed the first and in some ways the most important phase of
a genuine fusion of Celtic- Germanic spirit with
that of the Meditterean world
We know from literary sources that Carolingian
churches contained
murals, mosaics, and relief sculpture
but they have disappeared almost entirely.
Charlemagne died 814
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Gospel Book of Charlemagne
Coronation Gospels
produced at "Palace"
school at Aachen
Charlemagne apparently brought Early Christian
manusripts from Rome to be copied,
G8-12
St Matthew from
the Coronation
Gospels (the
Gospel Book of
Charlemagne), c
800-810. Approx
9" x 6 3/4"
as is apparent from the picture of St Matthew
from Charlemagne's Coronation Gospels (G812)
Written on purple vellum
Was buried with Charlemagne
German emperors took oath on this MS
4 evangelists painted in Roman illusionism
Figures wear togas
J398
Portrait of
Menander
Wall painting
c 70 AD
House of
Menamder,
Pompeii
Roman techniques of modeling in the round and
the free brushwork we saw at Pompeii (G6-35)
are used here to create an illusion of depth and
solidity.
If it were not for the large golden halo, the
Evangelist Matthew could be mistaken for a
classical author's portrait such as the one of
Menander (J398), painted at Pompeii almost 8
centuries earlier.
Whoever painted the MS portrait of Matthew
whether Byzantine, Italian, or Frankish- he was
clearly conversant with the Roman tradition of
painting including
the acanthus ornament of the wide frame,
which emphasizes the "window" aspect of
the picture.
The Carolingian Artists who worked at the Palace
scriptorium at Aachen seem much
more adept at copyng their classical models
than were the scribes who had worked at
Lindisfarne
This example repres. the most orthodox phases
of the Carolingian revival.
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
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Ebbo Gospels before 823
Reims school
G8-13
St Matthew, from
the Ebbo Gospels
(the Gospel Book
of Archbishop
Ebbo of Reims),
Hautvilliers (near
Reims), France,
c. 816-835.
Approx 10" x 8".
Bibliothèque
Nationale, Paris
G8-13A
St Mark from the
Ebbo Gospels
(the Gospel Book
of Archbishop
Ebbo of Reims),
Hautvilliers (near
Reims), France,
c. 816-835.
Approx 10" x 8".
Bibliothèque
Nationale, Paris
A rather different style is apparent in the
evangelist depicted in the Ebbo Gospels (G813), which was illuminated n the city of Reims.
Although based on manuscripts of the
Carolingian Palace school, there is new
violence that can be perhaps best desribed as
Teutonic.
While the copyists of the Palace School had
been able to submerge their own native style,
those of the School of Reims could not,
and the old linearity and patterning
we saw in the jewelry
reappears.
St Matthew
One result of this new style is the intense iner
life that it seems to give to the figures.
The intenisty of the soul seems much more
imortant than the solidity of the body.
Notice the charming little landscape in the
upper potion of the composition.
There are several trees, a sprightly little winged
figure, and a tiny temple, done in quite
passable perspective.
Teutonic=
Germanic
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St Mark
hills heave upward
Vegetation seems to be tossed about by a
whirlwind
---still---G8-13A
St Mark from the
Ebbo Gospels
(the Gospel Book
of Archbishop
Ebbo of Reims),
Hautvilliers (near
Reims), France,
c. 816-835.
Approx 10" x 8".
Bibliothèque
Nationale, Paris
Ox St Luke
Lion
even the acanthus frame around the frame
assumes a strange, flamelike character
St Mark
Eagle St John
Frenzy of divine inspiration
an instrument for recording the word of God
His gaze is not fixed upon his book but upon
his symbol (th e winged lion with a scroll)
which acts as the transmitter of the Sacred
Text
16.
List three ways in which the artist of the
Gospel Book of Archbishop Ebbo of Reims
(G8-13) has modified the style found in the
Gospel Book of Charlemagne (G8-12)
a.
The classical calm and solidity have been
replaced by energy that amounts to frenzy.
b.
All fidelity to bodily proportions or structures in
effort to focus on writing- head, hands, ink
horn, pen, book = focus of attention whereas
Coronation Gospels have even stress, no part
of composition stand s out to seize our
attention.
c.
native power of expression
Describe one important results of
Charlemagne's project to retrieve the
true text of the Bible.
Reowned scholar Alcuin of York at new monastery
at Tours.
Correction of actual script used - produced a clear,
precise system of letters that our alphabet
descended from
G8-14
Psalm 150, from
the Utrecht
Psalter, from
Hautvilliers,
France, c 830. 4
3/4" x 9 1/2"
Winged man
St Matthew
The little landscape is closely related to the one
found in another manuscript knwn as the
Utrecht Psalter (G8-14), which was produced by
the Reims artists.
Winged man
St Matthew
Ox St Luke
Lion
St Mark
Eagle St John
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Utrecht Psalter
Reims school
J400
Psalm 44, from
Utrecht Psalter, c
820- 32 AD
The little landscape is closely related to the one
found in another manuscript knwn as the
Utrecht Psalter (G8-14), which was produced by
the Reims artists.
G8-14
Psalm 150, from
the Utrecht
Psalter, from
Hautvilliers,
France, c 830. 4
3/4" x 9 1/2"
Displays even more energetic use of line
The entire MS is illustrated with pen drawings.
There is the same combination of nervous line
and Roman illusionism, and there is no
mistaking the busy figures for anything else.
The scenes serve as illustrations for the Psalms
fromthe Old Testament that are written out in
the measured Carolingian miniscles
Used an older model than did the Ebbo Gospels
as indicated by
the architectural and landscape setting
of the scenes and
the use of Roman capital letters which had
gone out of general use several centuries
before.
Quality of emotional coherence which could not
have been present before.
Psalms need ot be illustraed in a different way
from other parts of the Bible
The psalms can only be illustrated by taking each
each phrase literally and then by visualizing
each in some way
This necessary approach could become
werisome rather than be lively an energetic
17.
Name a manuscript whose style is related to
that of the Utrecht Psalter (G8-14)
Ebbo Gospels
A related style is seen in the metalwork on
the cover of
the
Codex Aureus of St. Emmeram
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Craft
Codex Aureus of St Emmeran
G8-15
Christ in Majesty,
Four Evangelists,
and Scenes from
the Life of Christ,
cover of the
Codex Aureus of
St. Emmeram, c
870. Gold set
with pearls and
precious stones ,
17" x 13"
Universal 323
Carolingian, c
870, Upper part
of Binding, the
Lindau Gospels,
c 870
Gold and jewlels
The Codex Aureus of St Emmeran was covered
with gold set with pearls and precious stones
(G8-15).
The plates of gold are embossed from the back
with an image of Christ in majaesty in the
center and scenes from his life around the
edge.
In these small figures one can see the influence
of the vivacious style of the Reims manuscripts.
Lindau Gospels Cover
Celtic- Germanic metal work tradition of the Dark
Ages adapted to the Carolingian revival
The clusters of semiprecious stones are not
mounted directly on the gold ground but are
raised on claw feet or arcaded turrets, so that
the light can penetrate beneath them, to bring
out their full brilliance.
The crucified Christ shows no sign of pain or
death
Seems to stand rather than hang
But we can see some eloquent expressions of
grief among the small figures in the adjoing
compartments..
style of Reims school
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Paliotto
A similar style was used in the Paliotto, the
golden altar frontal from Sant' Ambrogio in
Milan (G8-16)
G8-16
MASTER
W OLVINIUS, detail
of the Paliotto
(golden altar),
Sant' Ambrogio,
Milan, early ninth
century. Gold,
silver, enamel,
precious and
semiprecious
stones; entire
altar 3' high, 7'
long, 4' deep
19.
What was the function of the Paliotto at Sant'
Ambrogio in Milan?
Golden altar, shaped like a large tomb was designed
to contain the bones of St. Ambrose
Who was its designer?
Wolvinius
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c 870
when The Lindau Gospels were made ,
Charlemagne's empire was ruled by his two surviving
grandsons:
Charles the Bald and- the west Frankish king
Louis the German- the East Frankish knig whose
domains corresponded roughly to France and
Germany today
Their power was so weak that the continental Europe
was again exposed to attack
In the south the Moslems resumed their
depredations
Slavs and Magyars advanced from the east
Vikings moved in from the north and west
These Norsemen had been raiding Ireland and
Britian by sea since the 8th c.
Now they also invaded northern France and
occupied the area that has since been called
Normandy
Once there thy soon accepted Christianity and
Carolingian civ
During the 11th c the Normans assumed a role of
major importance in shaping the political and
cultural destiny of Europe
William the Conquerer bcame king of England in
1066 while other Norman noble expelled the
Arabs from Sicily and the Byzantines from South
Italy.
Meanwhile
in Germany
after death of the last Carolingian monarch in 911
the center of politcal power shifted north to Saxony
The Saxon kings (919-1024) reestabilished an
effective central government
The greatest of them Otto I revived the imperial
ambitions of Charlemagne
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Married the widow of a Lombard king and extended
his rule over most of Italy and had himself
crowned emperor by the pope in 962.
From then on the Holy Roman Empire was to be a
German institution (or dream)
Otto's sucessors could never consolidate their claim
to sovereignity south of the ALps-- this eventually
led the German emperors into centuries of
conflict with the papacy and local Italian rulers
Ottonian Art
mid 10th c - beginning of 11th c, Germany was the
leading nation in Europe
Both political and artist lly began as revivals of
Carolingian traditions but soon deveoped their own
traits.
Gospel Book of Otto III
31.
What two stylistic features seen in the Gospel
Book of Otto II (G8-30) were not apparent in
earlier Carolingian illumination?
a.
b.
G8-30
Otto III Enthroned
Receiving the
Homage of Four
Parts of the
Empire (with
Nobility and
clergy), from the
Gospel Book of
Otto III, 9971000. Apx 14" x
10"
abrupt, hinged, jerky motion that is "not
according to native"
hard, firm line with planes partitioned in sharp,
often heavily modeled shapes
The illumination from the Gospel Book of Otto III
(G8-30) clearly demonstrates the imperial
pretensions of the Ottonian emperors Otto I had
revived both German political power and
learning and had himself crowned Holy Roman
Emperor in the year 962.
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Intensity of glance and gestures
Ottonian manuscript painting blends Carolingiaan
and Byzantine elements into a new style
MOst important center for MS illumination at that time
was the Reichenau monasterye, on island of
Lake Constance
J408
Christ Washing
the Feet of Peter,
from the Gospel
Book of Otto III, c
1000
Notable echos of ancient painting
Soft pastel hues of background recall illusionism of
Greco-Roman landscapes
The architectural frame is decendent of architectural
perspectives as mural from Bosreale (J305)
Thes two elements still however seem misunderstood
by the Ottonian artist but he has managesd to
transform these architectural vistas to the
Heavenly city.
The House of the Lord filled with golden celestial
space as against the atmospheric earthly space
without
Transformation also seen in the figures
in ancient art: this composition used to represent ta
doctor treating a patient.
Now St Peter assumes the position of the patient and
Christ that of the physican (note that Christ is still
beardless here)
As a result
The emphasis has shifted from physical to spiritual
action, a new kind of action not only through
glances and gestures but also thourgh scale
Christ and St peter, the most active figutrres are
larger than the rest
Christ's active arm is longer than His passive one
The 8 disciples who merely watch have been
compressed into a tiny space so that we mostly
see their eyes and hands
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J409
St Luke
from the Gospel
Book of Otto II, c
100, 13 x 9 3/8"
Symbolic image of overwhelming grandeur
Evangelist is no longer shown writing
His Gospel lies completed in his lap
Enthroned on two rainbows, he holds aloft a huge
cluster of clouds from which tongues of light
radiate in every direction.
Within it is his symbol, the ox, surrounded by five Old
Testament prophets and an outer circle of angels.
Key to the entire composition is the inscription
Fonte patrum ductas bos agnis elicit undas "From the source of the fathers the ox brings
forth a flow of water for the lambs"-that is St Luke makes the prophets' message of
salvation explicit for the faithful.
Artists turned much more toward Byzantium for
models, perhaps because the rigid formality and
protocol of the byzantine court formed a better
model.
The firm, sure lines of ottonian drapery and flat, clear
planes of color differ from Carolingian examples
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Carolingian sculpture was limited to small ivories or
metal reliefs.
It was the Ottonian sculptors who created larger
works that led the way to the monumental
sculpture of the Romanesque period
J402
the Gero Crucifix
c 975- 100
Wood, height
6'2", Cathedral,
Cologne
Gero Crucifix
New toWestern art is the image of a monumental
crucified suffering Christ
Powerfully rounded forms
Filled with deep concerns for the sufferings of the
Lord
Particulary striking forward bulge of the heavy
body which makes the physical strain on the
arms and the shoulders seem almost
unbearably real.
The face = deeply incised, angular features
J355 The
Crucifixion,
Mosaic,11thc
maonastery
Church Daphne,
Greece
There were some compassionate vies of Christ
during th eSecond Golden Art in Byz art J355
Remeber that Otto IIhad married a Byzantine
princess so Byz influencxe is enabeld by a
direct link between the two imperial courts.
But the translation to
monumnetal sculptural scale scale
and the replaceing of gentle pathos to
expressive realism
was all Ottonian
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29.
Who was Bishop Bernward?
Made Hildesheim a center of learning
1001-1031
skilled in affairs of state, eager, scholar, lover of
arts
G8-27A
The Presentation
of Eve to Adam ,
from the bronze
doors
commissioned by
Bishop Bernward
for St Michael's.
1015. Apx 23" x
43"
G8-27
Adam and Eve
Reproached by
the Lord, from the
bronze doors
commissioned by
Bishop Bernward
for St Michael's.
1015. Apx 23" x
43"
Brenward, the Bishop of Hildeesheim, played a
decisive role in that development.
In addition to his scholarly pursuits, Bernward was
accomplished bronze-caster (G8-27)
In the year 1001 he made a trip to Rome, where he
undoubtedly saw the Early Christian wooden doors
with their carved reliefs on the church of Santa
Sabina.
The idea of combining the relief tradition of the outh
with the bronze so beloved of the northereners was
most likely Bernward's.
The casting of the great doors was an impressive
technical acheivement, for each of the great doorsweighing over 3000 lbs - was cast as a single piece
30.
The style of the figures on the bronze doors at
St., Michael's at Hildesheim (G8-27) probably
derives from what major way does it differs
from its prototypes?
pantomimic pose
starkly flat setting
The detail of the scene of God condemining Adam
and Eve in the garden is really quite delightful and
the message is clearly understood fromthe lively
gestures.
God points to Adam, and Adam points to Eve
blaming her, while Eve in turn points down to the
dragon on the ground.
There is great dynamism in the figures and the space
between them becomes a field of tension.