UNIT SEVEN: THE AGE OF
CHARLEMAGNE
Islamic Art and Architecture
Calligraphy
Illuminated Qur'an made for Ilkhanid ruler Uljaytu Hamadan, 1313
"Mohammed is the messenger of
Allah"
(From the Holy Qur'an: Surah: 48, Al-Fat'h, verse: 29)
Those who teach me have my everlasting
respect
(A common saying)
There is no God who truly deserves to be worshipped but Allah alone and
Mohammed (peace and blessings be upon him) is the messenger of Allah
He Who taught (the writing) by the Pen
(From the Holy Qur'an, Surah: 96, Al- 'Alaq, Verse: 4)
Praise be to Allah; the Cherisher and Sustainer of the Worlds
(From the Holy Qur'an, Surah 1, Al-Fatiha (The Opening))
Shrines and Palaces
Ka'ba
Mosque of the Prophet Mohammed (peace be upon him) in Madina
Panoramic view of the Dome of the Rock
An inner view of the dome of the Dome of the Rock
Tunisia's Great Mosque of Qairawwan
The Great Mosque of al-Mutawakkil which is also know as The Spiral (al-Malwieyya)
Located in Samarra, Iraq, the Great Mosque of al-Mutawakkil (reign 847 - 861) is
also know as The Spiral (al-Malweyya). Shown here is the mosque's 165-foot high
minaret that is located about 90 feet from the mosque's north side. The base of the
minaret originally was connected to the mosque with a viaduct.
The Taj Mahal (Crown of the Palace)
The Great Mosque of Cordoba
Alhambra Palace in Granada
The Alhambra
courtyard facade overview and
reflection
The Alhambra
through archway across garden
and fountain
The Alhambra
close-up of ornamental mosaic
Symmetric Patterns at the Alhambra
This wallpaper pattern has rotational
symmetry (by what angles?) Can you
find the centers of rotation? Try
drawing the pattern on square graph
paper.
The name 'Oriental carpets' is usually referred to all hand-knotted carpets;
since this denomination is not inexact in view of their common Asiatic
origin. However, the immensity of the producing areas, and the variety
of techniques, styles, and materials used necessitate a detailed
classification. As a rule, Oriental carpets are divided into four main
groups:
Caucasian;
Central Asia or Turkestan;
Persian; and
Turkish or Anatolian.
Caucasian rugs
Baku
Talish
Persian
Central (Kashan)
Southwestern (Bakhtiari)
Turkish
Central Anatolia (Konya)
Western Anatolia (Bergama)
Early Medieval, Celtic
Timeline view of Celtic Art and Culture
Castledermot, South Cross
Type of object: Sculpture
Material: stone
Period: Early Medieval, Celtic
Find spot: Co. Kildare
Country: Ireland
Date: 9th c. CE
North Cross
West face
Type of object: Sculpture
Material: stone
Period: Early Medieval,
Celtic
Find spot: Ahenny, Co. Clare
Country: Ireland
Date: 9th c. CE
St. Columba's House
Type of object: Architecture
Period: Early Medieval,
Celtic
Find spot: Iona
Country: Scotland
Date: c. 800
Muiredach's Cross
West face
Type of object: Sculpture
Material: stone, quartzy sandstone
Period: Early Medieval, Celtic
Find spot: Monasterboice, Co. Leath
Country: Ireland
Date: c. 900-920 CE
Tall Cross
Detail, Flight into Egypt
Type of object: Sculpture
Material: stone, granite
Period: Early Medieval, Celtic
Find spot: Moone, Co. Kildare
Country: Ireland
Date: 9th c. CE
Brooch-pin
Leng., 6.25 cm.
Type of object: Jewelry
Material: silver-gilt
Period: Early Medieval, Celtic
Find spot: Westness
Country: Scotland
Date: 8th c. CE
Collection: Edinburgh, National
Museum of Scotland
Large Pottery Beaker
Type of object: Vessels (ceramic)
Material: clay
Period: La Tène
Find spot: La Cheppe
Country: France
Date: 5th c. BC
Collection: Paris, St-Germain-en-Laye,
Musée des Antiquités
Mould for Applique Figure of Wheel-God (Ht.,5 3/4)
fr. Corbridge, Northumberland
Type of object: Vessels (ceramic)
Material: clay
Period: Romano-Celtic
Find spot: Corbridge, Northumberland
Country: England
Date: 3rd c. CE
Collection: Corbridge Museum
Ceremonial Axe and Spear
Type of object: Armor and Weapons
Material: bronze
Period: Hallstatt
Find spot: Krottenthal
Country: Germany
Date: 9th c. BCE
Collection: Munich, Prähistorische Staatssammlung, Museum für
Vör-und Frühgeschichte
Helmet
Type of object: Armor and Weapons
Material: bronze
Period: La Tène
Find spot: Marne
Country: France
Date: 400-200 BCE
Collection: Paris, St-Germain-enLaye, Musée des Antiquités
Sword Scabbard
Detail
Type of object: Armor and Weapons
Material: bronze
Period: Insular La Tène
Find spot: Lisanacrogher, Co. Antrim
Country: Ireland
Date: 2nd c. BCE
Collection: Dublin, National Museum of Ireland
Sword
Type of object: Armor and Weapons
Material: bronze
Period: Hallstatt
Find spot: Schippach
Country: Germany
Date: 6th c. BCE
Collection: Munich, Prähistorische
Staatssammlung, Museum für Vörund Frühgeschichte
GERMANIC (TEUTONIC) EUROPE
The Burgundian Kingdom
(5-7th c. A.D.)
Ivory buckle from the tomb of St. Caesarius of Arles, Notre Dame
la Major. 6th c. Perhaps showing two soldiers attending Christ's
tomb. Reflects 6th-century fusion of Roman and Germanic culture.
The Burgundian Kingdom
(5-7th c. A.D.)
Tin-plated bronze buckle showing Daniel in the lions' den. Burgundian 7th c.
The Alemanni
(4th to 8th c. A.D.)
Ceramics from the grave of an Alemannic
aristocratic youth, 4th c., which are close to Roman
models. Because Alemann ethnogenesis occurred
within the Roman cultural sphere, the Alemanni
were highly Romanized.
The Alemanni
(4th to 8th c. A.D.)
Helmet from a Alemann aristocratic grave, beg.
6th c. In the 4th and 5th c., the Alemanni were
often at war with the Franks, and at the time of
Clovis (c. 506) were beaten. While some chiefs
fled to Theodoric, most Alemmann dukes were
thereafter left to govern Alamania under the
authority of the Frankish kings.
The Alemanni
(4th to 8th c. A.D.)
Alamann pressed lead repoussé sword
hilt. 7th c. From Guttenstein, Baden. PreChristian theme, perhaps a human figure
wearing an animal mask at a sacred tree.
The Alemanni
(4th to 8th c. A.D.)
"Casket of Teudericus" reliquary from the second half of the 7th c. (?) (Canton Valais:
Saint Maurice Abbey treasury). This reliquary is a product of the monastic workshop
of St. Maurice d'Agaune. Signed by the artist and dedicated by the Priest Teudericus
to the monastery. Gold cloisonné, gemstones, and cameo on wood. 5.25"
The Franks
(4th to 7th century A.D.)
Frankish sword hilt from the grave of Childeric at the royal villa at Tournai,
late 5th century A.D. (Paris: Bib. Nat. Cab. des Méd.). The Merovingian
dynasty had a legitimate function within imperial government as the army and
administration of much of Gaul. While the Franks to interacted with the GalloRoman population rather more than some other sub-Roman regional
monarchies, social and cultural synthesis occurred only slowly. Therefore
Merovingian art tends, like this example, to manifest both Roman and
Frankish traditions.
The Franks
(4th to 7th century A.D.)
Tankard. Bronze repoussé on wood.
Lavoye gravegood. 7" tall. Frankish,
ca. 500 A.D. (S. Germain en Laye,
Mus. d'Art). Christian-Classical motifs
with Frankish stylization.
The Franks
(4th to 7th century A.D.)
Helmet from Frankish aristocratic grave at
Krefeld, Gellep, ca. 525 A.D. Helmet style is
Sassanian type introduced by the Romans, with
Persian, Germanic and Christian motifs.
Possibly a Mediterranean import or possibly of
Frankish manufacture.
The Franks
(4th to 7th century A.D.)
Casket of Mumma. Gilt copper repoussé on wood reliquary. Mid 7th c.
A.D. (St. Benoit sur Loire: Abbey Church). 5 in. Shows Twelve Apostles
(?) and decorative ornament.
The Franks
(4th to 7th century A.D.)
A 7th c. Frankish grave stele from Niederdollendorf am Rhine (nr. Bad
Godesberg). Late 7th c. A.D. The model is the traditional Frankish
wooden grave pillar. 17 in. The long-haired owner is in the field with
his flask and sword. A snake represents his soul. On verso is the
earliest Germanic image of Christ. He is here represented as a king
standing above an abstract decorative pattern consisting of the
traditional interlace and broken stick.
The Lombard Renaissance
(6th century to 774 A.D.)
Lombard fibula from Cividale di Friuli, second half 6th c. A.D.
The Lombard Renaissance
(6th century to 774 A.D.)
Altar of Ratchis. Relief detail. Visitation of Mary. Ca. 740 A.D.
(Cividale: St. Martin church museum).
The Goths
Pre-incorporation (4th - 5th c. A.D.)
Ostrogothic fibula. Gold plates attached to a silver core and
inlaid with garnets. 4th c. A.D. (New York: Metropolitan
Museum). 6.25" The Gothic interest in fibula is adopted from
Late Roman imperial emblems of rank at the imperial court.
The Goths
(4th to 7th century A.D.)
Ostrogothic Kingdom of Italy
Ostrogothic looped eagle head fibula from a
female grave at Desana, Italy. Ca. 500 A.D.
(Turin: Mus. Vic.). Gold with enamel, garnet
and emerald inlays. By wearing rich fibula, the
top Ostrogothic aristocracy could gave
tangible expression to its imperial service as
the Roman court aristocracy had previously
done.
The Goths
(4th to 7th century A.D.)
Visigothic Kingdom of Toulouse and Toledo
Map of the Kingdoms of Toulouse and Toledo
The Goths
(4th to 7th century A.D.)
Visigothic Kingdom of Toulouse and Toledo
Visigothic polychrome votive crown of
Recceswinth, King of Toledo. Found in a
votive crown hoard of c. 670 at Fuente de
Guarrazar, near Toledo (Madrid: Mus.
Argu). 7.8" Typical of Visigothic taste.
The Anglo-Saxons
(4th to 9th c. A.D.)
Anglo-Saxon round fibula from the Kingtson Find. 7th c. A.D.
(Liverpool Mus.) 3.25 in. Gold cloisonné with garnet and gemstone
inlays. The round fibula is a late Roman motif.
The Vendel Renaissance
(Scandinavia, 4th to 8th c. A.D.)
Vendel sword hilt from Grave V, Snartemo Hägebostad, Vest Agder,
Norway. Hilt is repoussé Early 6th c. A.D.
The Vendel Renaissance
(Scandinavia, 4th to 8th c. A.D.)
Vendel runestone with interlace and cross within a runic border, 5-6th c. A.D
Germanic Cosmography
Yggdrasil is the world tree in Germanic
mythology. There is no explanation or tale
explaining its creation. The Nordic
cosmographical world is divided into three
trisentric levels with a space separating each
plate. The roots of this sacred Ash tie together
the three levels of the world, and its branches
the very heavens. In the first level of the world
there is Asgard, Vanaheim, and Alfheim . The
second level contains Midgard, Jotunheim,
Nidavellir, and Svartalfheim. The third houses
Hel and Nifelheim. The world tree is rooted in
the realm of the Aesir, the realm of the frost
giants, and the realm of the dead.
The tree is subject to constant death and
renewal. A dragon named Nidhogg gnaws at
the roots and a squirrel called Ratatosk on the
branches. Deer graze off the tree and leap on it.
An eagle sits on top of the world tree stirring up
the winds of the world with its wings. The
squirrel runs up and down the tree delivering
vindictive messages between the eagle and
Nidhogg. The tree stays green and rejuvenated
with the aid of the Norns . They sprinkle the
tree with clay and water from the Spring of Urd
to prevent Yggdrasil from rotting away. The
spring of Urd, lies in Asgard and has very strong
properties. Everything that touches these
waters turns white. This well is also known as
the well of destiny. The gods hold council by it.
Carolingian Era: Iro-Frankish and Anglo-Frankish art
Victor Codex. Tatian ms: 547. (Fulda: Lib. Codex Bonifacius 1). Irish hand,
8th c. A.D. The Codex was originally owned by Boniface.
Miniature and incipit from Cadmug Evangelary, 800-833 A.D. Iro-Fulda school.
(Fulda Lib. Codex Bonif. 3).
Incipit of the Gospel according to Saint Mark from the Halberstadt Gospel.
Anglo-Frankish school, 9th c. A.D.
Metalwork
Front binding from the Four Gospels, St. Gall. 9th c. A.D..
Back cover of the Four Gospels, from Saint Gall. 9th c. A.D. Except
the four evangelists in the corners, reflects the Irish aesthetic.
Carolingian Synthesis
Miniatures
Miniature from the Gospel of Ebbo: Saint Mathew. Before 823 A.D.
(Epernay: Bib. Munic.) 17x14 cm.
Miniature from the Four Gospels,
showing Saint Mark.
Reims school, 845-882.
(New York: Morgan Library).
Miniature from Hrabanus' De Laud
showing Louis the Pious as defender of
the Cross.
(Wien: Aust. Nat. Lib. Cod. 652).
Fulda School, circa 840 A.D.
Carolingian frescos (8-10th c.)
Fresco in north niche of the Crypt of
Rabanus, Petersburg.
Christ and some others.
Fresco probably done by the monk
Candidus in 822-842 A.D.
Another fresco in Crypt of
Rabanus, Petersburg, probably by
Candidus.
Carolingian metalwork (8-10th c.)
Reliquary. Repoussé gilt bronze on wood. Frankish, 8th c. A.D.
(Paris: Cluny) 3.75". Mary holding Christ child flanked by Peter
and Paul.
So-called sword of Charlemagne. 9th c. A.D.
Bronze doors. The Wolfstür,
Aachen Cathedral.
These are the first medieval
doors in bronze.
Gold coin with head of Charlemagne.
Carolingian architecture (8-9th c. A.D.)
Aachen cathedral and Charlemagne's
octagonal church, viewed from the
Rathaus.
Interior, PALATINE CHAPEL
Aachen
Germany
792-805
Book of Kells
Book of Kells
The Four Apostles
The Lindisfarne Gospels
The Lindisfarne Gospels is
one of the most important
inheritances from early
Northumbria. Written and
illuminated about 698 in
honour of St Cuthbert, the
famous Bishop of Lindisfarne,
who died in 687, it is a
masterpiece of book
production and a historic and
artistic document of the first
rank.
Monasticicism
Monastery of Great Lavra
THE ABBEY OF MONTECASSINO
THE ABBEY OF MONTECASSINO
THE ABBEY OF
MONTECASSINO
Anti-portico of the upper
Cloister
Bayeux Tapestry
Edward the Confessor in 1064, informing Earl Harold that he must leave for Normandy to pay homage to
Duke William and to confirm the agreement made between Edward and William in 1051 that William shall
be king of England on Edward's death. Although a humiliating exercise for Harold, he would use the
opportunity to try and arrange the release of Wulfnot and Harkon.
Conforming to Edward's wishes, Harold departs to the coast with
entourage where he will board a boat that will ferry him to William in
Normandy. Unfortunately, the voyage was not straight forward. He was
blown ashore prematurely in a storm and is captured by Guy of Ponthieu.
Note the popularity of moustaches around this time.
Guy of Ponthieu being in possession of Harold, sent word to William that he
had captured the Earl. There is dispute today concerning the payment of a
ransom. It is said that one was paid by William for this eminent visitor.
Other accounts differ in that he refused. By using disguised threats,
managed to persuade Guy of the error of his ways. This plate shows the
handing over of Earl Harold to William. On the left we assume is Guy
pointing to Harold whilst addressing William on the right.
William and Harold discussing matters of relevance. Many meetings like this must have occurred. These
men were a match for each other mentally and the exchanges must have been quite interesting to listen
to. William would have tried to persuade Harold of his rightful claim to the English throne whilst Harold
using all his political astuteness and guile would attempt to avoid this ultimate admission. William knew
he had Wulfnot and Harkon as hostages and was in a strong position to force an oath of homage from
Harold. The Godwins had always been anti Norman and must have realised that any submission or
declaration of homage would ultimately harm Harold's chances of becoming the King of England on the
death of Edward. Harold knew that he was a hostage in all but name, so he had to tread carefully at these
meetings. Harold and William, it is said, became quite good friends and actually fought together. If Harold
was ever to return to England, he would eventually have to make some oath of allegiance to William.
Harold realised that he had no choice but to pay homage to William if he was ever
to be allowed home and secure the release of Wulfnot and Harkon. This plate
depicts the act of homage over holy relics. This must have affected Harold. This
was the last thing he had ever wanted to do. What gave him comfort and which
was confirmed to him on his return was that it was made under duress and hence,
not valid. Only Harkon, his nephew, was allowed to return home with him. His
brother Wulfnot remained a hostage for obvious reasons.
The death of Edward the Confessor on the 6th January 1066." One of the
characters in this plate must be Harold because Edward's last words were "I
commend my wife to your care and with her my whole kingdom ". If these words
were ever said by Edward are open to question. If they were, they could have been
interpreted in a number of ways. Harold had no doubt.