Art History Exam 2

Mt. Sinai

Mountain located on the Egypt Peninsula. This mountain may have been the one referred to in the Bible

Qibla

The mosque wall oriented toward Mecca; indicated by the mihrab

Theodora

This woman was empress of the Byzantine Empire and the wife of Emperor Justinian.

Flying buttresses

a buttress slanting from a separate pier, typically forming an arch with the wall it supports.

Rose window

a circular window with mullions or tracery radiating in a form suggestive of a rose.

Basilica

a large oblong building used as a hall of justice and public meeting place.

Mosaic

a picture or decoration made of small, usually colored pieces of inlaid stone, glass, etc.

Ambulatory

a place for walking, especially an aisle around the apse or a cloister in a church or monastery.

Tufa

a porous limestone formed from calcium carbonate deposited by springs or the like.

Clerestory

a portion of an interior rising above adjacent rooftops and having windows admitting daylight to the interior.

Fan vault

a type of vault consisting of a set of concave ribs spreading out from a central point like the ribs of an opened umbrella, used especially in the English Perpendicular style.

Patton

is a vessel used to hold the bread/wafer of the eucharist. In San Vitale, Justinian is portrayed carrying it as an offering. Since he is carrying such an important object there is a message of Justinian as a worldly and an ecclesiastical ruler.

Kuran, Surra

is the central religious text of Islam, which Muslims believe to be a revelation from God; and has chapters

Sainte Chapelle, Paris, 1243-48 French Gothic There is a tower in the middle great example of piercing; Louis the ninth built the chapel in order to house the relic the crown of thorns heavy piercing and buttressing The tracery on the lancet windows They do not need flying buttressing because a lot of the walls are filled in with stained glass the ceiling is decorated in blue with stars to look like the sky This is Louis the ninths personal chapel even in the interior there are piercing along the pointed arches there is no side aisles or ambulatory or an arcade because it is a private church After King Louis IX received the relic, Christ's Crown of Thorns, he constructed a glorious new palace building to house it. The Pope claimed that Christ had crowned Louis with his own crown, strong confirmation for Louis's own sense of the sacred underpinnings of his kingship. The Sainte-Chapelle is an extraordinary manifestation of the Gothic style. The two-story building- there is both a lower and an upper liturgical space- is large for a chapel, and though it is now swallowed up into modern Paris, when it was built it was one of the tallest and most elaborately decorated buildings in the capital. The upper chapel is a completely open interior space surrounded by walls composed almost entirely of stained glass presenting viewers with a glittering, multicolored expanse. Not only the king and his court experienced this chapel; members of the public came to venerate and celebrate the relic, as well as to receive the indulgences offered to pious visitors. The Sainte-Chapelle resembles a reliquary made of painted stone and glass instead of gold and gems, turned inside out so that we experience it from within. But this arresting visual impression is only part of the story. The stained-glass windows present extensive narrative cycles related to the special function of this chapel. Since they are painted in a bold, energetic style the stories are easily legible, in spite of the breadth and complexity. Around the sanctuary's hemicycle (apse or semicircular interior space) are standing themes relating to the celebration of the Mass. But along the straight side walls are broader, four-lancet windows whose narrative expanse is dominated by the exploits of the sacred kings and queens of the Hebrew bible, heroes Louis claimed as his own royal ancestors. Above the recessed niche where Louis himself sat at Mass was a window filled with biblical kings, whereas in the corresponding niche on the other side of the chapel, his mother, Queen Blanche of Castile, and his wife, Queen Marguerite of Provence, sat under windows devoted to the lives of Judith and Esther, alternatively appropriate role models for medieval queens. Everywhere we look we see kings being crowned, leading soldiers into holy warfare, or performing royal duties, all framed with heraldic references to Louis and the French royal house there is even a window that includes scenes from the life of Louis IX himself.

see more on slide 7

Cathedral, Cologne (Köln), Architect: Gerhard German Gothic a lot of french architects that go back and forth with either architecture bell towers that are really tall really tall super decorative; flying buttresses all the piercing is along the roof line and through the buttresses Super decorative the west work is really tall, There is no rose window three porches nave, ambulatory, addition of side aisles two porches at either end of the transept emphasis on height on the interior great acoustics so even the person in the back could hear the guy talking like in england they use of multicolored stone;

see slide 11

Encaustic

using pigments mixed with hot wax that are burned in as an inlay.

Transept

(in a cross-shaped church) either of the two parts forming the arms of the cross shape, projecting at right angles from the nave.

Mandorla

(in painting, sculpture, etc) an oval-shaped area of light, usually surrounding the resurrected Christ or the Virgin at the Assumption

Lunette

(in the plane of a wall) an area enframed by an arch or vault.

Eucharist

(also called Holy Communion, the Lord's Supper, and other names) is a Christian rite that is considered a sacrament in most churches. According to the New Testament, it was instituted by Jesus Christ during his Last Supper.

Arcosolium

(in Roman catacombs) an arched recess for a sarcophagus.

lintel

A horizontal element of any material carrie by two or more vertical supports to form an opening

pier

A masonry support made up of many stones, or rubble and concrete, often square or rectangular in plan, and capable of carrying very heavy architectural loads.

Muhammed's Night Journey

Muhammad travels on the steed Buraq to "the farthest mosque" where he leads other prophets in prayer. He then ascends to heaven, where he speaks to God, who gives Muhammad instructions to take back to the faithful regarding the details of prayer. This remembrance of this journey is one of the most significant events in the Islamic calendar.

Symbols of the Evangelists

Name Symbol Matthew. Winged Man. Mark. Winged Lion. Luke. Winged Ox. John. Eagle

Christ as the Good Shepherd

Not literally a depiction of christ but it is a symbol of who he was

Beginning Text of Matthew and St. Matthew, Book of Lindisfarne, c.715-720 century Art of the Migration Period (Dark Ages) A carpet page, it looks like a tapestry or a carpet It is represented as a cross in the book of scripture super detailed full of interlace birds are also woven in with one another Super detailed and it would have taken someone long to make this Something that means a lot to them The other, is an author portrait There is no sense of perspective trying to show perspective the rest is really flattened matthew sitting on a red cushion but looks like he is floating does not give the appearance of sitting no sense of anatomy, just a knee the wrinkle or indentation is shown by a line or curve God may be likely the one peaking out from the curtain checking to see if Matthew is writing the correct things the hair is stylized Angel at the head is also stylized Twisted perspective and has a super frontal eye Even the way he is holding his arm to his trumpet it is one of the most extraordinary manuscripts ever created, admired for the astonishing beauty of its words and pictures, but also notable for the wealth of information we have about its history. Two and a half centuries after it was made, a priest named Aldred added a colophon, a publishes emblem or imprint, especially one on the title page or spine of a book, to the book, outlining the rare precision its history, as he knew it- that it was written by Eadfrith, bishop of Lindisfarne, and bound by Ethelwald, his successor. producing this stupendous work of art was an expensive and laborious proposition- requiring 300 calfskins to make the vellum and use pigments imported from as far away as the Himalayas for the decoration. Preliminary outlines were made for each of the pictures, using compasses, dividers, and straight edges to produce precise under-drawings with a sharp point of silver or lead, forerunner to out pencils. The full pages of ornament set within cross-shape frameworks are breathtakingly complex, like visual puzzles that require patient and extended viewing. Hybrid animal forms tangle in acrobatic interlacing, disciplined by strict symmetry and sharp framing. Some have speculated that members of the religious community at Lindisfarne might have deciphered the patterns as a spiritual exercise. But principally the book was carried in processions and spilled on the altar, not shelved in the library to be consulted as a part of intellectual life. The text is heavily ornamented and abbreviated, difficult to read. The words that begin the Gospel of Matthew are jammed together, even stacked on top of each other. They are also framed, subsumed, and surrounded by a proliferation of the decorative forms, ultimately deriving from Barbarian visual traditions, that we have already seen moving from jewelry into books in the Durrow Gospels. But the paintings in the Lindisfarne gospels document more than the developing sophistication of an abstract artistic tradition. Roman influence is evident here as well. Instead of beginning each Gospel with a symbol of its author, the designer of this book introduced portraits of the evangelists writing their texts, drawing on a Roman tradition.Matthew appears against a blank background and contrasting color created by the drapery "folds". Careful arranging of the ornament on the legs of Matthew's bench. The footstool has been liberated from its support to float freely on the surface, while still resting under the evangelist's silhouetted feet. Playing freely with an acknowledged and clearly understood alien tradition, the painter situates an enigmatic figure in the "background" at upper right behind a gathered drape- suspended from a curtain rod hanging from a screw eye sunk into the upper frame- that is not long enough to conceal the rest of his figure. Clearly there were important cultural reason for such divergent reactions to a Mediterranean model- seemed to emphasize its Roman connections and Lindisfarne its indigenous roots. The identity of the haloed figure peeking from behind the curtain is still a topic of debate. Some see him as Christ confronting us directly around the veil that separated the holy of holies from worshipers in the Jewish Temple; others think he is Moses, holding the closed book of the law that was meant to be seen in contrast to the open book into which Matthew writes his Gospel. Also curious here is the Greek form of "saint" in matthew's title ("O Agios" or "the holy"), written, however, with letters form the Latin alphabet.

See also Powerpoint slide 4 for other artwork

Cathedral, Chartres, rebuilt after 1194 French Gothic Charters was the site of a pre-Christian virgin-goddess cult, and later, dedicated to the Virgin Mary, it became one of the oldest and most important Christian shrines in France. Its main treasure was a piece of linen believed to have been worn by the Virgin Mary when she gave birth to Jesus. It was kept below the high altar in a huge basement crypt. The healing powers attributed to the cloth made Chartres a major pilgrimage destination, especially as the cult of the Virgin grew in popularity. Its association with important market fairs- especially cloth markets- held at Chartres on the feast days of the Virgin put the textile relic at the intersection of local prestige and the local economy, increasing the income of the cathedral not only through pilgrimage but also through tax revenue it received from the markets. The West Facade of Chartres preserves an early sculptural program created within a decade of the reconstruction of Saint-Denis. Surrounding these three doors- the so-called Royal Portal, used not by the general public but only for important ceremonial entrances of the bishop and his retinue- sculpted figures calmly and comfortably fill their architectural settings. On the central tympanum, Christ is enthroned in majesty, returning at the end of time surrounded by the four evangelists. Although imposing, he seems more serene and more human than in the hieratic and stylized portrayal of the same subject at Moissac. The apostles, organized into four groups of three fill the lintel, and the 24 elders of the Apocalypse line the archivolts. The right portal is dedicated to the Incarnation (God's first earthly appearance), highlighting the role of Mary in the early life of Christ, from the Annunciation to the Presentation in the Temple. On the left portal is the Ascension (the incarnation God's return from earth to heaven). Jesus floats heavenward in a cloud, supported by angels. Running across all three portals, historiated capitals, on the top of the jambs just underneath the level of the lintels, depict Jesus' life on Earth in a series of small, lively narrative scenes. Flanking all three openings on the Jambs are serenely calm column statues- kings, queens, and prophets from the Herew Bible, evocations of Christ's royal and spiritual ancestry, as well as a reminder of the close ties between the Church and the French royal house. The prominence of kings an queens here is what has given the Royal Portal its name. The elegantly elongated proportions and linear, but lifelike, drapery of these column statues echo the cylindrical shafts behind them. Their meticulously carved, idealized heads radiate a sense of beatified calm. The jamb figures on the royal portals are on either side of the doorway they are columnar and really gothic they are not people like we are. They are elongated they support nothing and seem to dangle down they have bodies not drapery lines carved into the stone the knee or the hip The part aesthetic beauty, they are the gate keepers the figures tower above the viewer they look kindly and down at us but also past us They provide a kind of transition from the earthly rely to the spiritual realm inside the church. In fact, tranquility and order prevail in the overall design as well as in the individual components of this portal, a striking contrast to the dynamic configurations and energized figures on the portals of Romanesque churches. The bulk of Chartres Cathedral was constructed after a fire.

See powerpoint slide 5

San Vitale, Ravenna, 526-547 Byzantine Art Centrally planned plane brick exterior butress coming out and there is a dome inside Narthex but the entrance is set off just a bit so it is in line with the apse with an ambulatory so people can circle around on the inside in the apse the bishop takes the sacrament the bread and wine and symbolically turns it into the blood and flesh of christ in the apse christ as the ruler wearing purple he is sitting on the earth four rivers of the earth running through him down below Elias showing the miniature san vitale in his hand no context of what time to place this in small indication of a cliff trying to show that there is some place that these figures are standing on an attempt to show classical drapery the figures aren't necessarily proportional mosaic a depiction of justinian and his wife. They are so important that they will reside in this place of power and religion Theodora, justinian's wife, crown, dressed in purple She is holding a special chalice that will be used for the sacrament it is guided and jeweled Theodora is not allowed into the apse space where all of the reverent stuff is going on So a bishop or priest is opening a curtain she is probably in a courtyard the clothing and bodies are elongated and very linear, trying to get classical but it is much more abstracted feet are not on a ground line They look as if they are floating in the courtyard same face squished in the one area of the mosaic They have some space to stand but behind them you don't know how many space and it looks kind of tight on her robe are the barbarians that they are going to overtake Another mosaic- Justinian in the center He is holy, he has a halo and he is a little bit older and on the golden background his feet are red, it is a sign of the emperor of the holy leader of royalty He is wearing different clothing and the purple color He is holding the patan which holds the bread He is following in constantine path with the Chi-Rho This image is really flattened without any space behind them golden light of heaven behind them Some of them are older and then the soldiers are younger maximinas is holding the cross, He is bold and older We also know it is him because he put his name in, the new bishop There is emphasis to his role earthly and heavenly and his dedication to christianity (Textbook explanation) Byzantine forces captured Ravenna from the Arian Christian Ostrogoths who had themselves taken it from the Romans. Much of our knowledge of the art of this turbulent period comes from the well-preserved monuments at Ravenna. Ecclesius, bishop of Ravenna, commissioned two new churches, on for the city and one for its port, Classis. Construction began on a central-plan church, a martyrdom (church built over the grave of a martyr) dedicated to the fourth-century Roman martyr St. Vitalis, but it was not finished until after Justinian had conquered Ravenna and established it as the administrative capital of Byzantine Italy San Vitale was designed as a central-domed octagon surrounded by eight radiating exedrae (wall niches), surrounded in turn by an ambulatory and gallery, all covered by vaults. A rectangular sanctuary and semicircular apse project from one of the sides of the octagon, and circular rooms flank the apse. A separate oval narthex, set off-axis, joined church and palace and also led to cylindrical stair towers that gave access to the second-floor gallery. The floor plan of San Vitale only hints at the effect of the complex, interpenetrating interior spaces of the church, an effect that was enhanced by the offset narthex, with its double sets of doors leading into the church. People entering from the right saw only arched openings, whereas those entering from the left approached on an axis with the sanctuary, which they saw straight ahead of them. The dome rests on eight large piers that frame the exedrae and the sanctuary. The undulating, two-story exedrae open through superimposed arcades into the outer aisles on the ground floor and into galleries on the second floor. They push out the circular central space and create an airy floating sensation, reinforced by the liberal use of veined marble veneer and colored glass and gold mosaics in the surface decoration. As in Hagia Sophia, structure seems to dissolve into shimmering light and color, only here an elaborate program of figural mosaics focuses the worshiper's attention within the sanctuary In the half dome of the sanctuary apse, St. Vitalis and Bishop Ecclesius flank an image of Christ enthroned. The other sanctuary images relate to its use for the celebration of the Eucharist. The lunette on the north wall shows an altar table set for the meal that Abraham offers to three disguised angels, and next to it a portrayal of his near-sacrifice of Isaac. In the spandrels and other framed wall spaces appear prophets and evangelists, and the program is bristling with symbolic references to Jesus, but the focus of the sanctuary program is the courtly tableau in the half dome of the apse. A youthful, classicizing Christ appears on axis, dressed in imperial purple and enthroned on a cosmic orb in paradise, the setting indicated by the four rivers that flow from the ground underneath him. Two winged angels flank him, like imperial bodyguards or attendants. In his left hand Christ holds a scroll with seven seals that he will open at his Second Coming at the end of time, proclaiming his authority not only over this age, but over the age to come. He extends his right hand to offer a crown of martyrdom to a figure on his right labeled as St. Vitalis, the saint to whom this church is dedicated. On the other side is the only un-nimbed figure in the tableau, labeled as Bishop Ecclesius, the founder of San Vitale, who holds forward a model of the church itself, offering it to Christ The artist has imagined a scene of courtly protocol in paradise, where Christ as emperor, gives a gift to, and receives a gift from members of the celestial entourage. In separate, flanking rectangular compositions, long the curving wall of the apse underneath the scene in the half dome appear Justinian and Theodora and their retinues. The royal couple did not attend the dedication ceremonies for the church of San Vitale, conducted by Archbishop maximianus. There is no evidence that they actually set foot in Ravenna, but these two large mosaic panels that face each other across its sanctuary picture their presence here in perpetuity. Justinian, on the north wall, carries a large golden paten that will be used to hold the Eucharistic bread and stands next to Maximianus, who holds a golden, jewel-encased in a golden, jeweled book cover, symbolizing the coming of Christ as the Word, and a censure containing burning incense to purify the altar prior to the Eucharist. On the south wall, Theodora, standing beneath a fluted shell canopy and singled out by a golden halo and elaborate crown, carries a huge golden chalice studded with jewels. The rulers present these gifts as precious offerings to Christ- emulating most immediately Bishop Ecclesius, who offers a model of the church to Christ in the half dome of the apse, but also the three magi who brought valuable gifts to the infant Jesus, depicted in "embroidery" at the bottom of Theodora's purple cloak. In fact, the paten and chalice offered by the royal couple will be used by this church to offer Eucharistic bread and wine to the local Christian community during the liturgy. In this way the entire program of mosaic decoration revolves around themes of offering, extended into the theme of the Eucharist itself Theodoras group stands beside a fountain, presumably in a courtyard leading to the entrance to the church. The open doorway and curtain are Classical space-creating devices, but here the mosaicists have deliberately avoided allowing their illusionistic power to overwhelm their ability also to create flat surface patterns. Notice, too, that the figures cast no shadows, and, though modeled, their outlines as silhouetted shapes are more prominent than their sense of three dimensionality. Still, especially in Justinian's panel, a complex and carefully controlled system of overlapping allows us to see these figures clearly and logically situated within a shallow space, moving in a stately procession from left to right toward the entrance to the church and the beginning of the liturgy. So the scenes portrayed in these mosaic paintings are both flattened and three-dimensional, abstract and representational, patterned and individualized. Like Justinian and Theodora, their images are both there and not there at the same time.

See slide 2 on powerpoint for more

Sana Maria Maggiore, Rome, mosaics Early Christian Art Dedicated only to Mary, the mother of jesus in the apse and outside it is heavily decorated with mosaics with biblical scenes going on Nativity - Mary lying down god and jesus are together- "The same" real gold in between two pieces of glass right over the alter in the apse the apse itself is shocking because there are christ is no longer a symbol but it is a depiction of christ he has the chi-rho on the bottom of his robe Mary is being crowned the queen of heaven by him she is in the most holy space of the church super important and a bunch of angels around them stylistically it is really classical indication of a throne that they are seated on a lot of attention to the drapery and the shades in it knees are protruding pretty proportional the throne is in the weird shape because of the apse itself is rounded all because of the council of Nicea starred background in the heavens

Slide 1 of the powerpoint

Thomas of Aquinas, Summa Theologiae

Summary of theologies systematically descried christianity fails to capture the essence of spirituality first to bring classical thought and philosophy to spiritual thought looks to aristotle important to know about the world because it was created by god leads to huge developments in the coming century Although unfinished, the Summa is "one of the classics of the history of philosophy and one of the most influential works of Western literature." It was intended as an instructional guide for theology students, including seminarians and the literate laity. It was a compendium of all of the main theological teachings of the Catholic Church. It presents the reasoning for almost all points of Christian theology in the West. The Summa's topics follow a cycle: the existence of God; Creation, Man; Man's purpose; Christ; the Sacraments; and back to God.

Justinian

The Emperor of the Byzantine Empire with his wife Theodora

Iconolasm, Iconoclast, Iconophile

The action of attacking or assertively rejecting cherished beliefs and institutions or established values and practices.; a person who attacks cherished beliefs or institutions.; Someone who supports icons, and is in opposition to an iconoclast

Side aisle

The aisles on either end or both sides of a nave. Usually with rows of seating or consiting of windows on the wall and a place to walk.

Tympanum

The area over a door enclosed by an archand a lintel, often decorated with sculpture or mosaic.

Centrally planned church

The church is built with an point in the middle and the rest comes out most of the time in circular shape

Triforium

The element of the interior elevation of a church found directly below the clerestory and consisting of a series of arched openings in front of a passageway within the thickness of the wall.

St. Francis

The patron saint of animals, merchants, and ecology lived in sin during his teenage years from wealthy family father was a silk trader in a dream, God commanded him to return home from the 4th crusade returned humiliated His conversion took almost 25 years at the ancient church at san domino praying he heard christ on the crucifix say "francis, repair my church" wanted to make poverty holy honor all living creatures, even animals preached to birds preached to hundreds of birds taught them to thank god for his care and of their freedom receiving the stigmata- wounds that appear that resemble those that christ had ( was said to have them)

Jamb

The vertical element found on both sides of an opening in a wall, and supporting an arch or lintel.

Trumeau

a column, pier, or post found at the center of a large portal or doorway, supporting the lintel

Porphyry

a hard igneous rock containing crystals, usually of feldspar, in a fine-grained, typically reddish groundmass.

Pumpkin Dome

a hemispherical dome with a circular base and a ribbed vault divided into individual webs, each of which has a baseline curved segmentally in plan and also curved in elevation

Minbar

a high platform or pulpit in a mosque

Hypostyle Hall

a large interior room characterized by many closely spaced columns that support its roof

banded barrel vault

a long barrel vault with transverse arch bands at regular intervals; The arch bands are slender arches made of simple and uniform voussoirs, seemingly protruding down from the barrel vault.

Cistercian monk

a member of a Christian order of monks and nuns founded in 1098, which follows an especially strict form of the Benedictine rule.

Diptych

a painting, especially an altarpiece, on two hinged wooden panels that may be closed like a book. Also, an ancient writing tablet consisting of two hinged leaves with waxed inner sides.

Patron

a person who gives financial or other support to a person, organization, cause, or activity. Or as in saint the protecting or guiding saint of a person or place.

Intercessor

a person who intervenes on behalf of another, especially by prayer.

Torah niche

a recession in a wall used to house a Torah

orant

a representation of a female figure, with outstretched arms and palms up in a gesture of prayer, in ancient and early Christian art.

Icon

a representation of some sacred personage, as Christ or a saint or angel, painted usually on a wood surface and venerated itself as sacred.

Apse

a semicircular or polygonal termination or recess in a building, usually vaulted and used especially at the end of a choir in a church.

Book-matched marble

a single block is sliced into sheets, which are laid side by side so the adjoining surfaces mirror each other, like an open book.

Squinch

a small arch, corbeling, or the like, built across the interior angle between two walls, as in a square tower for supporting the side of a superimposed octagonal spire.

Tesserae

a small block of stone, tile, glass, or other material used in the construction of a mosaic.

Horseshoe Arch

an arch of more than a half-circle; typical of western Islamic architecture

Pointed arch

an arch with a pointed crown, characteristic of Gothic architecture.

barrel vault

an elongated or continuous semicircular vault, shaped like a half cylinder.

Narthex

an enclosed passage between the main entrance and the nave of a church.

Relic, reliquary

an object surviving from an earlier time, especially one of historical or sentimental interest.

Trefoil

an ornamental design of three rounded lobes like a clover leaf, used typically in architectural tracery.

Catacomb

an underground cemetery, especially one consisting of tunnels and rooms with recesses dug out for coffins and tombs.

Buttress

any external prop or support built to steady a structure by opposing its outward thrusts, especially a projecting support built into or against the outside of a masonry wall.

Pendentive

any of several spandrels, in the form of spherical triangles, forming a transition between the circular plan of a dome and the polygonal plan of the supporting masonry.

Carpet page

are a characteristic feature of Insular illuminated manuscripts. They are pages of mainly geometrical ornamentation, which may include repeated animal forms, typically placed at the beginning of each of the four Gospels in Gospel Books.

Stained glass

colored glass used to form decorative or pictorial designs, notably for church windows, both by painting and especially by setting contrasting pieces in a lead framework like a mosaic.

Cloisonne

decorative work in which enamel, glass, or gemstones are separated by strips of flattened wire placed edgeways on a metal backing.

Didactic

designed or intended to teach. Intended to convey instruction and information as well as pleasure and entertainment

Carolus Magnus

founder of the first empire in western Europe after the fall of Rome. His court at Aix-la-Chapelle became the center of the Carolingian Renaissance. Also known as Charlegmane.

Hallenkirche

hall church. A church in which the side aisles are as high or almost as high as the nave and which consequently lacks a clerestory.

St. Denis

he was Bishop of Paris. He was martyred. He is a Christian martyr and saint

High Relief sculpture

in general more than half the mass of the sculpted figure projects from the background, indeed the most prominent elements of the composition, especially heads and limbs, are often completely undercut, detaching them from the field.

St. Benedict

is a Christian saint, who is venerated in the Eastern Orthodox Churches, the Catholic Church, the Oriental Orthodox Churches, the Anglican Communion and Old Catholic Churches.[1] He is a patron saint of Europe. Benedict founded twelve communities for monks.

Codex

is a book constructed of a number of sheets of paper, vellum, papyrus, or similar materials, with hand-written contents.

The Kaaba, Mecca

is a building at the center of Islam's most sacred mosque. Located in Arabia. It is the most sacred site in Islam. It is considered the "House of Allah" and has a similar role to the Tabernacle and Holy of Holies in Judaism. Wherever they are in the world, Muslims are expected to face the Kaaba when performing prayer.

Apsidal chapel

is a chapel radiating tangentially from one of the bays or divisions of the apse. It is reached generally by a semicircular passageway, or ambulatory, exteriorly to the walls or piers of the apse.

Abbey Church

is a monastic religious community headed by an abbot or abbess. It often has an especially large choir to provide space for the monks or nuns.

Vesperbild

is a subject in Christian art depicting the Virgin Mary cradling the dead body of Jesus, most often found in sculpture.

Theotokos

is a title of Mary, mother of Jesus, used especially in Eastern Christianity. Meaning parent of God.

Theotakos (virgin mary enthroned)

is a title of Mary, mother of Jesus, used especially in Eastern Christianity. The usual Latin translations, Dei Genetrix or Deipara (approximately "parent (fem.) of God", are translated as "Mother of God" or "God-bearer".

Westwerk

is the monumental, west-facing entrance section of a Carolingian, Ottonian, or Romanesque church. The exterior consists of multiple stories between two towers.

Cockle/scallop shell

is the traditional emblem of James, son of Zebedee, and is popular with pilgrims on the Way of St James to the apostle's shrine at Santiago de Compostela in Galicia (Spain). Medieval Christians making the pilgrimage to his shrine often wore a scallop shell symbol on their hat or clothes.

Tracery (see slide 14)

ornamental stone openwork, typically in the upper part of a Gothic window.

Polychrome

painted, printed, or decorated in several colors.

pilgrimage

people that are visitors wishing to venerate relics as well as attend religious services. They would have traveled far to see the relics.

Cathedral, Salisbury, begun, c. 1220 English Gothic no rose window in cruciform transepts there is not as much perching there is so much decoration every bit of the exterior is filled with relief sculpture and decorative forms the crossing tower- the bell tower in the center in france it was on the side it is shorter and not as tall not worry about the height these churches are often associated with monasteries. It is surrounded by green space because they were built outside of the cities, differing form the french interior is more lower, more intimate feel use polychrome stoned that is white stone with the darker stone the clerestory, arcade and side aisles, some stained glass They have grown vaults under the crossing tower spot so to make sure that it will stay up An excellent example of English Gothic. In the west facade the small flanking towers project beyond the side walls and buttresses, giving the facade an increased width. A mighty crossing tower (the French preferred a slender spire) became the focal point of the building. (The huge crossing tower and its 400-foot spire are a fourteenth-century addition at Salisbury, as are the flying buttresses, which were added to stabilize the tower.) The slightly later cloister and chapter house provided for the cathedral's clergy. Salisbury has a distinctive plan, with wide projecting double transepts, a square east end with a single chapel, and a spacious sanctuary- more like a monastic church. The nave interior reflects the Norman building tradition of heavy walls and a tall nave arcade surmounted by a gallery and a clerestory with simple lancet windows. The walls alone are substantial enough to buttress the four-part ribbed vault. The emphasis on the horizontal movement of the arcades, unbroken by continuous vertical colonies extending fro the compound piers, directs worshiper's attention forward toward the altar behind the choir screen. The use of color in the stonework is reminiscent of the decorative effects in Romanesque interiors. The shafts supporting the four-part rib vaults are made of dark Purbeck stone that contrasts with the lighter limestone of the rest of the interior. the original painting and gilding of the stonework would have enhanced the effect.

see also slide 9

Cathedral Notre-Dame, Paris French Gothic First Gothic Cathedral to have flying buttresses Transition from Early to High Gothic 3 part elevation makes the clerestory tower area to use for more light Rose window in transept is huge- Gothic is all about light- 45 ft diameter window The building was not originally designed to include the flying buttresses around the choir and nave but after construction began, the thinner walls grew ever higher and stress fractures began to occur as the walls pushed outward. Many small individually crafted statues were placed around the outside to serve as column supports and water spouts. Among these are the famous gargoyles, designed for water run-off, and chimeras. The statues were originally colored as was most of the exterior.

see powerpoint slide number 6

St. Elizabeth, Marburg, 1233-83 German Gothic large towers on the west end side aisles and transepts no apse ribbed vaulting fine thinned out piers hall church is hallenkirche Church serves led architects in Germany to develop the hall church, a type of open, light-filled interior space that appeared in Europe in the early Middle Ages, characterized by a nave and side aisles of equal height. The spacious and well-lit design of the hall church provided accommodation for the large crowds drawn by charismatic preachers. The first true hall church and one to he earliest Gothic buildings in Germany was St. Elizabeth. The Hungarian princess Elizabeth had been sent to Germany at age 4 to marry the ruler of Thuringia. He soon died of the plague, and she devoted herself to caring for people with incurable diseases. It was said that she died at age 24 from exhaustion, and she was canonized. The knights of the Teutonic Order (who had moved to Germany from Jerusalem) built a church to serve as her mausoleum and pilgrimage center. The plan of the church is an early German form, with choir and transepts of equal size, each ending in apses. The elevation of the building, however, is new, with nave and aisles of equal height. On the exterior wall, tall buttresses emphasize its verticality, and the two rows of windows suggest a two-story building, which is not the case. Inside, the closely spaced piers of the nave support the ribbed vault and, as with the buttresses, give the building a vertical, linear quality. Light from the two stories of windows fills the interior, unimpeded by walls or galleries. The hall-church design was adopted widely for civic and residential buildings in Germanic lands and also for Jewish architecture.

see slide 10

Basilica of St. Francis, Assisi, 13th c Italian Gothic This building was unusually elaborate in its design, with upper and lower churches on two stories and a crypt at the choir end underneath both. Both upper and lower churches have a single nave of four square vaulted bays, and both end in a transept and a single apse. The lower church has massive walls and a narrow nave flanked by side chapels. The upper church is a spacious, well-lit hall with excellent visibility and acoustics, designed to accommodate the crowds of pilgrims who came to see and hear the friars preach as well as to participate in church rituals and venerate the tomb of the saint. The church walls presented expanses of uninterrupted wall surface where sacred stories could unfold in murals. In the wall paintings of the upper church, the focus was on the story of Francis himself, presented as a model Christian life to which pilgrims, as well as resident friars, might aspire.

see slide 12

Giotto, Scrovegni (Arena) Chapel, Padua (Padova), 1305-1306 Italian Gothic it was a private chapel and commissioned by a wealthy guy blue pigment was considered really expensive there is a barrel vault it is small and simplified Along each of the walls there are frescos four zones with four registers each with the scene with the life of christ the lamentation- sense of the depth with the crowd saints with halos the shading is really abstract the figures themselves are naturalistic but they are super illuminated faces and soem pretty dramatic shading in their clothes the angels are flying, they appear to be flying and they are really emotional themselves They are smudging out there is not a depiction of the whole body there is landscape in the background there is a circular vision figures back is to us the viewer can feel like they can be part of this scene emotional on their faces looks as if she is seated and has weight and cradling christ Small private chapel connected to a palace. It is smaller and enclosed by images. Space entirely covered in fresco. Ceiling has a star studded blue sky with saints and figures and Jesus Christ. Giotto is the artist who takes the biggest step away from the Medieval style of spiritual representation in painting. Giotto is perhaps best known for the frescos he painted in the Arena Chapel. They were commissioned by a wealthy man. According to the Church, usury (charge interest for a loan) was a sin, and so perhaps one of Enrico's motivations for building the chapel and having it decorated by Giotto was to atone for the sin of usury. The chapel is known as the Arena Chapel since it is on the site of an ancient Roman arena. Commissioning works of art of churches was a common way of doing "good works" which could help you earn your way into Heaven. There are numerous separate images in the chapel. The frescoes tell the story of the lives of mary (beginning with her parents) and Chirst on the long walls. By the altar, Giotto painted the Annunciation, and at the other end, on the entrance wall, the Last Judgment. Rather like a comic book without words, Giotto tells the story of Christ and his parents through pictures. Most of the population of Europe was illiterate at this time and so couldn't read the bible for themselves. People learned the stories of the Bible- stories that would help them get to heaven- by hearing the words of the priest in the church, and by looking at paintings and sculptures. Giotto was able to achieve a light and shadow as well as emotion and the human interaction that emphasizes the people being actual people. The people are the most important part. see scenes of the Christ Child. Christ is often shown in profile and he is often looking to the right from being the left. The whole chapel is about the movement of time. There is a blue garment wrapped around his waist. It was seco fresco and it has not lasted as long as the ones that were applied with wet fresco. The arrest of christ (the kiss of Judas). Christ's movement is impeded by him. They look at one another. Look at each other in the eye. There is an idea of chaos. the sky, half the painting are the clubs and fires. It creates a violent visual rhythm. There are numerous helmets that would have been gold painted but have been oxidized. Giotto has mastered the dramatic theme. The lamentation, comes from the word to grief or lament. Mary holding her dead son. She holds him on her lap. The idea of representing Christ as dead was a new idea in the Gothic period. The background is simplified. The rocky hill that forms a landscape moves our eye down right to Christ. He is not in the center but off to the side. There are two figures where we only see the backs. making it really real looking. They draw our eye to the most important people in the painting. Mary's knee is bent up propping Jesus' body. The angels in the background are really mourning and renting their clothing. Everyone in the painting shows their grief or experiences their grief differently. Continued the mountain on the next fresco by this with Mary Madelene. New testament scenes being compared and connected to the Old Testament scenes. This late medieval period is moving towards the Renaissance the very beginning features of it. The bottom register depicts the vices and the virtues through figures. Hope is on the last fresco in the corner as you leave. She is looking up and it just so happens that they wall she is looking to is the scene of the last judgment.

see slide 13

Virgin and Child French Gothic We see that Gothic S-curve of her body The drapery of her robe is emphasized She wears a crown which has piercing and it looks as if she is an actual mother figure holding the baby gently and lovingly. Shifting her weight to hold the baby Portrays Mary as a very worldly queen, decked out in royal garments and wearing a heavy gem-encrusted crown. The Christ Child is equally richly attired and is very much the infant prince in the arms of his young mother. Tender anecdotal characterization of Mother and son represents a further humanization of the portrayal of religious figures in Gothic sculpture. The playful interaction of an adult and an infant in the "Virgin of Paris" may be compared with the similarly composed statuary group of Hermes and the infant Dionysos by the Greek sculptor Praxiteles. The Gothic curve has an artificial form imposed on figures, a decorative device that produced figure structure. The body is lost behind the heavy drapery, which, deeply cut and hollowed, almost denies the figure a solid existence. The ornamental line the sculptor created with the flexible fabric is analogous to the complex, restless tracery of the late Gothic style in architecture, which dominated northern Europe in the fourteenth and fifteenth centuries.

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Baptism by aspersion

sprinkle the water for baptizing instead of immersing in the water

Chi-Rho

the Christian monogram ( ☧ ) made from the first two letters of the Greek word for Christ.

Annunciation

the announcement of the Incarnation by the angel Gabriel to Mary

Polychromy

the art of painting in several colors, especially as applied to ancient pottery, sculpture, and architecture.

Fresco

the art or technique of painting on a moist, plaster surface with colors ground up in water or a limewater mixture.

Transubstatiation

the change of substance by which the bread and the wine offered in the sacrifice of the sacrament of the Eucharist during the Mass, become, in reality, the body and blood of Jesus

Apotheosis

the elevation of someone to divine status; deification.

Anatasis

the moment in which Christ is transfiguration--in a mandorla, like the image in the apse of St. Catherine's.

Lamentation

the passionate expression of grief or sorrow; weeping.

Nave

the principal longitudinal area of a church, usually flanked by aisles of less height and breadth

Spolia/Spoils

the repurposing of building stone for new construction, or the reuse of decorative sculpture on new monuments

Crossing tower

the tower above a crossing, in ecclesiastical architecture, is the junction of the four arms of a cruciform church. ( or where the transepts intersect with the nave)

holy relic

venerated object or body part associated with a holy figure, such as a saint, and usually housed in a reliquary.

Abbot Suger

was a French abbot, statesman, historian and one of the earliest patrons of Gothic architecture.

Council of Nicaea

was a council of Christian bishops, it was convened by Emperor Constantine the Great, Its main accomplishments were settlement of the Christological issue of the nature of the Son of God and his relationship to God the Father, establishing uniform observance of the date of Easter, and promulgation of early canon law.

Ravenna

was the capital of the Byzantine Empire in Italy, and it still has amazing mosaics recalling that heritage

Andächtsbilder

A German term used to describe Christian devotional images designed as aids for prayer or contemplation.

The city of God

A book written by St. Augustine of Hippo.

reliquary

A container, often elaborate and made of precious materials, used as a repository for sacred relics

Animal interlace, filigree

A decorative technique using abstracted animal forms in an interwoven pattern.

Portal

A grand entrance, rood, or gate, usually to an important public building, and often decorated with sculpture

Ribbed-groin vault

A groin vault is the intersection of two barrel vaults. The intersection leaves x shapes in the ceiling and ribbing is when an extra amount of material is placed to outline these x shapes.

Pier

A masonry support made up of many stones, or rubble and concrete (in contrast to a column shaft which is formed from a single stone or a series of drums), often square or rectangular in plan, and capable of carrying very heavy architectural loads.

Mihrab

A recess or niche that distinguishes the wall oriented toward MEca in a mosque

Minaret, call to prayer

A tower on or near a mosque from which Muslims are called to prayer five times a day

Bay

A unit of space defined by architectural elements such as columns, piers, and walls.

Groin vault

A vault created by the intersection of two barrel vaults of equal size which creates four side compartments of identical size and shape.

Cloister

An enclosed space, open to the sky, especially within a monastery, surrounded by an arcaded walkway, often having a fountain and garden. It represents the center of the monastic world.

Piercing

Any place, in Gothic architecture, where it is poked out instead of solid stone. (example are the places above the the porches in the tympanum in gothic architecture)

Battle of Hastings, William the Conqueror, Harold of Wessex

Between the Norman-French army of William, the Duke of Normandy, and an English army under the Anglo-Saxon King Harold Godwinson, beginning the Norman conquest of England. It took place approximately 7 miles (11 kilometres) northwest of Hastings, close to the present-day town of Battle, East Sussex, and was a decisive Norman victory.

Author Page

Depictions of the author who wrote the book; ex: Matthew, mark, Luke and John

Arabesque

European term for a type of linear surface decoration on foliage and calligraphic forms thought by Europeans to be typical of Islamic art and usually characterized by flowing lines and swirling shapes.

Gothic S-curve, Gothic sway

Figures in Gothic art often curve or sway in an 'S' shape. The pose of the figures is enhanced by the hanging folds of their clothes. This gives them a sense of life and movement. Curving figures could be large or small, male or female. The poses are not natural and can look uncomfortable, even though the overall effect is very elegant

Spolia (spoils)

Fragments of older architecture or sculpture reused in a secondary context. Latin for "hide stripped from an animal."

Most large Gothic churches in western Europe were built on the latin cross plan, with a projecting transept marking the transition from nave to choir, an arrangement that derives ultimately from the Constantinian basilica. The main entrance portal was generally on the west, with the choir and its apse on the east. A western narthex could priced the entrance to the nave and side aisles. An ambulatory with radiating chapels circles the apse and facilitated the movement of worshipers through the church. many Gothic churches have a three-story elevation, with a triforium sandwiched between the nave arcade and a glazed clerestory. Rib vaulting usually covered all spaces. Flying buttresses helped support the souring nave faults by transferring their outward thrust over the aisles to massive, free-standing, upright external buttresses. Church walls were decorated inside and out with arcades of round or pointed arches, engaged columns and colonies, an applied filigree of tracery, and horizontal moldings called stringcourse. The pitched roofs above the vaults- necessary to evacuate rainwater from the building- were supported by wooden frameworks. A spire or crossing tower above the junction of the transept and nave was usually planned, though often never finished. Portal facades were also customarily marked by high, flanking towers or gabled porches ornamented with pinnacles and finials. Architectural sculpture proliferated on each portal's tympanum, archivolts, and jambs, and in France a magnificent rose window typically formed the centerpiece of the flat portal facades.

Gothic style

Cult of the Virgin

Groups that believe heavily in the Virgin Mary and they can pray to her as an intercessor.

jamb

In architecture, the vertical element found on both sides of an opening in a wall, and supporting an arch or lintel

tympanum

In medieval and later architecture, the area over a door, enclosed by an arched a lintel, often decorate with sculpture or mosaic.

Parchment/vellum

Is a general term for an animal skin which has been prepared for writing or printing. It has been made for centuries, and is usually calf, goat, or sheep skin.

Muhammed, the Prophet

Islams believe him to be the last prophet sent by God to mankind to restore Islam; Accounts of the angel Gabriel who appeared to him from time to time Flees to Medina, builds community of followers

Octagonal Church

It has an octagonal (eight-sided polygon) architectural plan. The exterior and the interior (the nave) may be shaped as eight-sided polygon with approximately equal sides or only the nave is eight-sided supplemented by choir and porch (or narthex) attached to the octagon.

Pantokrator (Christ as Pantokrator)

It means "Almighty" or "All-powerful" This translation speaks more to God's actual power; i.e., God does everything (as opposed to God can do everything). Showing two different emotions with the face split in half. One the merciful side and the other the judgment one.

Church of Christ in Chora (Kariye Camii), Istanbul, c. 1320 Byzantine Art anastasis Byzantine period an apse that is frescoed christ is surrounded by a mendorala in this case it is the moment of transfiguration he has broken open the tombs he is going to resurrect them along with himself figures are watching this moment of transfiguration There are prophets, apostles and bishops down at the bottom being reminded of the power of christ ridged in the drapery intense (information from Textbook) In Constantinople, many existing churches were renovated, redecorated, and expanded during the Palaeologue Renaissance. Among these is the church of the monastery of Christ in Chora. The expansion of this church was one of several projects that Theodore Metochites, a humanist poet and scientist, and the administrator of the imperial treasury at Constantinople. He added a two-story annex on the north side, two narthexes on the west, and a preclusion used as a funerary chapel on the south. These structures contain the most impressive interior decorations remaining in Constantinople from the late Byzantine period, rivaling in splendor and technical sophistication the works of the age of Justinian, but on a more intimate scale. The walls and vaults of the preclusion are covered with frescos, and the narthex vaults are encrusted with mosaics.

Look powerpoint slide 3