Ch 16 Study Guide Questions
1. From whom does the traditional negative assessment of the Middle Ages come?
2. What are the 3 “ingredients,” as it were, of the early Middle Ages?
3. What types of items provide the little we know of the art of non-Roman peoples? Why are
these items no longer viewed as “minor arts?”
4. What was the purpose of a fibula? What kinds of imagery is often hidden in the intricate
patterns of such pieces?
5. Explain the cloisonné technique as seen on the Sutton-Hoo purse cover?
6. What connection can you find between the figures on the Sutton-Hoo purse cover and those on
the Soundbox of the lyre from the Royal Cemetery at Ur (page 39)?
7. What about the designs on the Sutton-Hoo purse cover as unique to the art of the medieval
warlords, despite any connections to Islamic art?
8. With what is the art of the Vikings most closely associated?
9. As with the Sutton-Hoo purse cover, what marks the Animal-head post and Wooden portal of
the stave church at Urnes, Norway as examples of medieval warrior-lord art?
10. Identify the following terms (see insert page 425): Vulgate, Pentateuch, lectionary, breviary,
sacramentary, benedictionals, and Book of Hours.
11. Which factors distinguish the Hiberno-Saxon or Insular style?
12. What are the traditional symbols for each Evangelist and why is each used (see insert page
426)?
13. What is the most characteristic feature of Insular books as seen in the Durrow Gospels?
14. What characteristic does the Cross and carpet page of the Lindisfarne Gospels share with the art
of the Northern war lords? How is the page unified and stabilized?
15. Contrast the image of Saint Matthew from the Lindisfarne Gospels to the symbol of Saint
Matthew from the Book of Durrow. From where did the Lindisfarne artist draw his inspiration
for his figure?
16. What are some of the ways the artist of Saint Matthew from the Lindisfarne Gospels juxtaposes
the New Testament with the Old?
17. How is the Book of Kells treated as “the chief relic of the western world?”
18. Briefly explain the design and imagery seen on the Chi-rho-iota page of the Book of Kells.
19. What about the High Cross of Muiredach marks it specifically as Celtic?
20. What is Mozarabic art? What Islamic elements can been seen in the tower and scriptorium of
San Salvador de Tabara page of the Commentary on the Apocalypse?
21. Compare and contrast the Equestrian portrait of Charlemagne with the Equestrian portrait of
Marcus Aurelius.
22. Compare and contrast the image of Saint Matthew from the Coronation Gospels to the one from
the Lindisfarne Gospels.
23. What classicizing elements can be seen in the image of Saint Matthew from the Coronation
Gospels? How does the use of these features fit perfectly Charlemagne’s official moto?
24. What is so remarkably different about the image of Saint Matthew from the Ebbo Gospels as
compare will all of the previous images?
25. In what ways is the Utrecht Psalter similar to the Ebbo Gospels?
26. What techniques are used to create the front cover of the Lindau Gospels? What connections
can you make between this piece and Early Christian works?
27. From where did Charlemagne draw inspiration for his buildings?
28. Compare and contrast Charlemagne’s Palatine Chapel with San Vitale.
29. How is the Torhalle at Lorsch, Germany a “distant relative” of the Arch of Constantine?
30. What is opus reticulatum as seen on the Torhalle?
31. What is the purpose of a cloister?
32. Explain the module system of Saint Gall in Switzerland.
33. How did the Carolingian builders modify the basilica plan as seen at Saint Gall?
34. How did the Carolingian builders create a unified monumental façade such as the abbey church
at Corvey, Germany?
35. Who were the Ottonians and how did the bring stability to central Europe?
36. What additional feature was added to the nave? What is its function?
37. Explain the alternate-support system.
38. What was Bishop Bernward of Hidelsheim lasting contribution to Ottonian architecture? What
is unique about the floor plan of Bishop Bernward’s church?
39. Briefly explain the scenes from the bronze doors of Saint Michael’s. How are connections made
between Old and New Testament scenes?
40. Upon what model was the bronze column at Saint Michael’s modeled?
41. For what purpose was Archbishop Gero’s Crucifix for Cologne Cathedral used? How does this
piece offer a dramatically different image of the Savior than previously seen?
42. Which elements of the Annunciation to the Shepherds from the Lectionary of Henry II show
knowledge of both Early Christian art and Byzantine decoration?
43. Compare Otto enthroned from the Gospel Book of Otto III to the mosaic of Justinian at San
Vitale.