250 AP Art History Snapshots

45. *Column of Trajan. Rome, Italy. Apollodorus of Damascus. Forum and markets: 106-112 C.E.; column completed 113 C.E. Brick and concrete (architecture); marble (column).* -Burial chamber of Trajan, whose ashes are in the base -crowded composition with low relief -view would impress visitor with Trajan's accomplishments, including forum and markets -Column mean to be entered, visitor would wander up staircase to a viewing platform

pic of column of trajan is an upright, thin, column

55. *Lindisfarne Gospels: St. Matthew, cross-carpet page; St. Luke portrait page; St. Luke incipit page. Early medieval (Hiberno Saxon) Europe. 700 CE. Illuminated manuscript (ink, pigment, and gold).* BOOK OF GOSPELS FOR MONASTERY -The codex (a bound book, made from sheets of paper or parchment) from which he is to copy the Gospels of Matthew, Mark, Luke and John -Illuminate the gospel text with a weave of fantastic images— snakes that twist themselves into knots or birds, their curvaceous and overlapping forms creating the illusion of a third dimension -Insular or Hiberno-Saxon art—works produced in the British Isles between 500-900 C.E., a time of devastating invasions and political upheavals -Aldred's colophon—an inscription that relays information about the book's production—informs us that Eadfrith, a bishop of Lindisfarne in 698 who died in 721, created the manuscript to honor God and St. Cuthbert -Unusual that it is the work of an individual artist -Written in Latin with English annotations -Cross Page- cross on page w/ horror vacui decoration, dog-headed snakes intermix with long-beaked birds, cloisonne (colored areas interrupted by thin metal strands), maze of S shapes, symmetrical, Celtic imagery and Christian theology -Saint Luke Portrait-- Saint Luke is calf (sacrificial), imago vituli, heavily bearded yet appears as younger man, legs crossed holding scroll and writing instrument -Incipit Page-- lower right corner of naturalistic cat eating 8 birds, Celtic spiral ornament steps

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49. *Santa Sabina. Rome, Italy. Late Antique Europe. 422-432 C.E. Brick and stone, wood.* CHRISTIAN CHURCH -Built by Peter of Illyria -Basilicas are not just churches...they're also a place for public gatherings and law courts -Three-aisled basilica; no transepts (aisle perpendicular to nave where priest stands) -Designed to accommodate a large number of people -Simple architecture with Corinthian columns, clerestory windows -Windows not made of glass but selenite -Flat wooden roof, coffered ceiling (sunken panels), thin walls -Bare exterior, full interior (values of Christ) -Mosaic represents eucharist -Spolia: pagan columns repurposed in Christian context -Men in main aisle and women in side aisles -Has apse frescoes depicting Christ -One of the most notable door panels depicts the crucifixion

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48. *Catacomb of Priscilla. Rome, Italy. Late Antique Europe. 200-400 C.E. Excavated tufa and fresco.* BURIAL PLACE WITH CHRISTIAN WALL ART -The wall paintings are considered the first Christian artwork -5 miles of narrow passageway burials underground -Villa of a wealthy Roman woman named Priscilla -Stacked one atop the other, while wealthier people got larger spaces for burial -Mostly for the poor, placed in shelf like tombs covered in terra cotta then plaster called loculi -Larger rooms are called cubiculum -Grave robbing because Christian martyrs may have relics -A very dark passageway, rough earth and floor, and low ceiling -Could've been used to hide from persecution, until Constantine's edict of Milan -Greek Chapel: named for Greek inscriptions, three niches for sarcophagi, decorated with sketchy painterly brushstrokes -Orants Figure: fresco over a tomb niche set over arched wall; cemetery of family vault; stands with arms outstretched in prayer and dark against light background -Good Shepherd Fresco: restrained portrait of Christ as good shepherd (rescues sinners who flock stray)

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52. *Hagia Sophia. Constantinople (Istanbul). Anthemius of Tralles and Isidorus of Miletus. 532-537 C.E. Brick and ceramic elements with stone and mosaic veneer.* BYZANTINE CHURCH AND SYMBOL OF POWER -Built during the Byzantine Empire by Emperor Justinian -The church was meant to be a victory for Christianity and Justinian, helping him become more likeable -Hagia Sophia - Holy Wisdom -Ottoman empire changes it into a mosque -Christian murals were painted over due to iconoclasm and minarets were added -The Hagia Sophia has two levels, the ground floor and gallery, which were used to delineate gender and class during services -Part of the gallery served as an imperial lodge, a place for the empress and emperor to sit when attending services -There are nine doorways that allow passage from the narthex to the nave; only the emperor could enter from the imperial middle doorway -Combination of axial and central plan -Exterior: plain and massive, interior: altar at end of nave, but emphasis placed on area covered by dome -Dome supported by pendetives -Dome has 40 windows at base to let in light -Cornice (projecting ledge) unifies space -Once contained four acres of gold mosaics on walls

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60. *Chartres Cathedral. Chartres, France. Gothic Europe. 1145-1155 C.E.; reconstructed 1194-1220 C.E. Limestone, stained glass.* CHURCH DEDICATED TO MARY -Stained glass Gothic church depicting various religious scenes from the Old and New Testament, and the Apocalypse throughout the cathedral with intricate, detailed story lines -Stained glass windows and a large clerestory add dramatic, beautiful lighting -Elegant, tall, pointed arches -Ribbed groin vault -Had the tunic that Mary gave birth in; dedicated to her -Church burnt down, but the tunic miraculously survived and they took it as a miracle and that Mary wanted a more beautiful church -Three part elevation -Flying buttresses -Newer left spire is much more decorative -Took only 26 years to construct -Enlarged chevet (east end) accommodated church ceremonies -Tall vertical nature draws eyes upward to heavens -Dark, mysterious interior increases spirituality -Stained glass enlivens the interior surfaces

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