ART HISTORY FINAL

8.16 Christ as the Good Shepherd, c 425

*Christ as the good shepherd is the subject of the lunette above the entrance, Jesus sits among hi flock, haloed and robed in gold and purple *left and right, the sheep are distributed evenly in groups of three, arrangement is rather loose and informal, occupy a careful described landscape that extends from foreground to background beneath a blue sky *all the forms have three dimensional bulk and are still deeply rooted n the classical tradition

8.9 Old Saint Peters, Rome, Italy, c 319

*erected by Constantine, the first imperial patron of Christianity, this huge church stood on the spot of Saint Peter's grave *the building's plan and elevation resemble those of Roman basilicas, not pagan temples *Greatest of Constantine's churches in Rome, begun as early as 319 *stood on the western side of the Tiber River on the spot where Constantine and Pope Sylvester believed Peter, first apostle and founder of the Christian community had been buried **roman cemetery beneath the Church-second-century memorial erected in honor of the Christian martyr at his reputed grave *housing 3,000 to 4,000 worshipers-raised upon a terrace the ancient cemetery on irregular slope of Vatican Hill *enshrined one of the most hallowed sites in Christendom-the site of Christ's Ressurection **"Thou art Peter, and upon this rock I will build my church *Peter was Rome's first bishop and also head of the long of popes that extends to present *plan and elevation resemble those of Roman basilica and audience halls-such as Basilica Ulpia in Forum of Trajan and Constantine's own AUla Palatina at Trier * roman basilica, suited as place for congregation *wide central nae with flanking aisles and an apse at the end, pronounced longitudinal axis **worsipers entered basilica through a narthex or vestibule they had an unobstructed view of the altar in the apse framed by the chancel arch dviding the nave from the transept *transept-transerve aisle-an area perpendicular to the nave between the nave and apse *it housed relics of Saint Peter that hordes of pilgrims came to see *transept became standard design element in Western churches only much later-also w/ the nave and apse-symbolism of Christian cross *had an open colonnaded courtyard in front of the narthex-atrium central room in a Roman private house *not adorned w/ lavish exterior scultptures **brick walls were austere as thoe of the Aula Palatina **inside with frescos and mosaics-marble columns, costly ornaments

1200 13.1 Rose window and lancets, Chartres Cathedral, France, c 1220

*form of stones frames for the stained glass windows also evolved-plate tracery holds the rose window in place--glass fills only the punched holes in the heavy ornamental stonework, bar tracery is much more slender, 13th century stained glass windows of the Chartres transepts fill the entire opening and stonework is unobtrusive-delicate leading than masonry wall

9.29 Virgin and Child, late 11th to early 12th century

*this icon, the artist depicted Mary as the Virgin of Compassion, who presses her cheeks against her son;s as she contemplates his future. The reverse side shows the instruments of Christ's Passion *Middle Byzantine icon painting, reveals the stylized abstraction resulting from centuries of working and reworking the conventional image *Byzantine traits: the Virgin's long, straight nose and small mouth, unbroken contour that encloses the two figures, flat silhouette against the golden ground *Mary appears as the Virgin og Compassion, who presses her cheek against her son's in an intimate portrayal of Mother and Child *Image infused w/ a deep pathos as Mary contemplates the future sacrifice of her son *1155 Vladimir (Russia) and 1395 to Moscow *Russians believed that the sacred picture saved the city of Kazan from later Tartar invasions all of Russia from the Poles in 17th century **Historical symbol of Byzantium's religious and cultural mission to the Slavic world

13.3 Ambulatory and radiating chapel, abbey church, Saint-Denis, France 1140-1144

Abbot Surger's remodeling of Saint-Denis marked the begging of Gothic architecture--rib vaults w/ pointed arches spring from slender columns-radiating chapels have stained glass windows *remodeled portion of Saint-Denis represented a sharp break from past practice--innovative rib vaults resting on pointed or ovigal arches cover the ambulatory and chapels *lightweight vaults spring from slender columns in the ambulatory and from thin masonry walls framing the chapels--lightness of vaults enabled builders to eliminate the walls between the chapels and open up the outer walls and fill them w/ stained-glass windows *Surger and his contemporaries marveled at the wonderful and interrupted light that poured in through the most sacred windows *abbo called the colored light lux nova-new light, multicolored rays through the windows shone on the walls and columns almost dissolving them-new type of vaulting and stained glass became hallmarks of French Gothic architecture *rib vault's distinguishing feature is the cross or diagonal arches under its groins-ambulatory and chapels *these arches form the armature or skeletal framework for constructing the vault *Gothic vaults generally have more thinly vaulted webs-masonry between the ribs than found in Romanesque vaults-chief difference between the two style of rib vaults is the pointed arch an integral part of the Gothic skeletal armature-first wide use of pointed arches was in Sasanian architecture and Islamic builders adopted them *pointed arches allowed Gothic builders to make crowns of all the vault's arches approximately the same level regardless of space to be vaulted---Romanesque architects could achieve this w/ their semicircular arches

10.2 Dome of the Rock, Jerusalem, 687-692 (Interior + Exterior)

Abd al-Malik erected the Dome of the Rock to mark the triumph of Islam in Jerusalem on a site sacred to Muslim, Christians, and Jews--Shrine takes the form of an octagon w/ a towering dome *first great Islamic building is the Dome of Rock in Jerusalem, Muslims had taken the city from Byzantines in 658 and Umayyad caliph Abd al-Malik erected the monumental shrine between 687 and 692 as an architectural tribute to the triumph of ISlam *the Dome marks the coming of the new religion to the city that is sacred to both Jews and Christian-structure rises from a huge platform-Noble Enclosure-where Hebrews built the Temple of Solomon that Roman emperor Titus destroyed in 70 *site took on additional significance as the reputed place where Adam was buried and where Abraham prepared to sacrifice Isaac-rock that gives the building its name also later came to be identified w/ the spot from which Muhammad miraculously journeyed to Heaven and then returned to his home in Mecca *is a domed octagon resembling San Vitale in Ravenna in its basic design-double shelled wooden dome, 60 feet across and 75 feet high-dominated the elevation as to reduce the octagon to function as its base, soaring majestic unit creates a decidedly more commanding effect than that produced by Late Roman and Byzantine domical structures--silhouettes of those domes are comparatively insignificant when seen from the outside *Colorful patterning that wraps the walls like a textile is typical of Islamic ornamentation-contrasts markedly w/ Byzantine brickwork and Greco-Roman sculptured decoration-interior's rich mosaic ornament has been preserved and suggests the original appearance of the exterior walls

13.11 Notre-Dame, Paris, France c1180 -

Architects first used flying buttresses on a grand scale in the Cathedral of Notre-Dame in Paris--buttresses countered the outward thrust of nave vaults and held up the towering nave walls *Notre Dame occupies the island in Siene River-gothic cathedral replaced a large Mervingian basilica has a complicated building history--choir and transept were completed by 1182 nave by 1225 and facade around 1250-1260, sexpartite vaults cover the nave--the original elevation had four stories, in place of the triforium over the gallery stained glass oculi open up the walls below the clerestory lancets-windows fill two of the four stories-reducing the masonry area *to hold the thinner and taller--walls of Notre Dame architect introduced flying buttresses exterior arches that spring from the lower roofs over the aisles and ambulatory and counter the outward thrust of the nave vaults *Gothic builders employed flying buttresses as early as 1150, Notre Dame in Paris they circle a great urban cathedral *combination of precisely positioned flying buttresses and rib vaults w/ pointed arches--ideal solution to the problem of constructing towering naves w/ huge windows-flying buttresses like slender extended fingers holding up walls-components of the distinctive look of Gothic cathedrals

13.25 Sanite-Chapelle, Paris, France, 1243-1248

At Louis IX's Sainte-Chapelle the architect succeeded in dissolving the walls to such an extent that 6,450 square feet of stained glass account for more than three quarters of the Rayonnant Gothic structure *The chapelis a masterpiece of Rayonnant radiant style of High Gothic age--preferred style of the royal Parisian court of Saint Louis--Sainte-Chapelle's architect carried the dissolution of walls and the reduction of the bulk of the supports of the point that some 6,450 square feet of stained glass make up more than three-quarters of the structure--supporting elements are hardly more than large mullions or vertical stone bars--emphasis is on the extreme slenderness of the architectural forms and on linearity in general *enormous windows filter the light and fill the interior w/ an unearthly rose-violet atmosphere--approximately 49 feet high and 15 feet wide-they were the largest designed up to their time

14.18 Florence Cathedral, begun 1296

Basilican church w/ marble encrusted walls carries on Tuscan Romanesque architectural tradition--linking Florence Cathedral more closely to Early Christian Italy than to contemporaneous France * structure reveals the competitiveness Florentines felt w/ cities such as Siena and Pisa...Cathedral authorities planned for the church to hold the cities entire population although it only holds about 30,000-builders ornamented the church's surfaces in the old Tuscan fashion w/ marble encrusted geometric designs matching the cathedral's revetment-decorative wall paneling-to that of Romanesque baptistery of San Giovanni *clings to the ground and has no aspirations toward flight-emphasis on horizontal element of the design-building rests firmly and massively earthbound--clearly defined simple geometric volumes of the cathedral show no tendency to merge either into each other or into the sky

11.22 Saint Michael's, Hildesheim, Germany, 1001-1031

Built by Bishop Bernward, a great art patron, Saint Michael's is a great masterpiece of Ottonian basilica design, church's two apses, two transepts, and multiple towers give it a distinctive profile *Bernward made Hildesheim a center of learning, an eager scholar, lover of the arts-expert craftsman and bronze caster *Constructed between 1001 and 1031 Saint Micheal's has a double transept pln, tower groupings, and westwork, two transepts create eastern and western centers of gravity *nave seems to be a hall that connects them, lateral entrances leading into the aisles from the north and south traditionally make for an almost complete loss of traditional basilican orientation towards the east *crossing squares are basis for the nave's dimensions-three crossing squares long and one square wide, placement of heavy piers at corners of each square gives visual emphasis to the three units, these piers alternate w/ pairs of columns as wall supports in a design similar to that of Saint Cyraikus at Gernrode

11.12 Equestrian portrait of Charlemagne or Charles the Bald, 9th century

Carolingian emperors sought to revive the glory and imagery of the ancient Roman Empire-equestrian portrait depicts a crowned emperor holding a globe-symbol of world dominion *commissioning imperial portrait statues and large numbers of illustrated manuscripts by fostering a general revival of learning * portrait of Theodoric may have been the inspiration for a ninth century bronze statuette of a Carolingan emperor on horseback *Charlemagne greatly admired Theodoric-first Germanic ruler of Rome-Many scholars have identified the small bronze figure as Charlemagne himself *ultimate model for the statuette was the equestrian portrait of Marcus Aurelius in Rome, Middle Ages people mistakenly thought the bronze statue represented Constantine *Both Roman and medieval sculptor portrayed their emperor as overly large so that ruler not the horse is center of attention, unlike Marcus Aurelius- extended his right arm in a gesture of clemency to a foe who once cowered beneath the raised foreleg of his horse-Charlemage is on parade *he wears imperial robes rather than a general's cloak, his sheathed sword is visible, on his head is a crown, his outstretched left hand he holds a globe, symbol of world dominion *portrait proclaimed renovatio of Roman Empire's power and trappings

13.43 Westminster Abbey, England, 1503-1519

Chapel of Henry VII epitomizes the decorative and structure disguising qualities of the Perpendicular style in the use of fan vaults w/ lacelike tracery and hanging pendants resembling stalactites *structure disguising and decorative style of the Perpendicular style-16th century ceiling of the chapel of Henry VII adjoining Westminster Abbey in London--Robert and William Vertue turned the earlier English linear play of ribs into a kind of architectural embroidery * architects pulled ribs into uniquely English fan vaults-w/ radiating ribs forming a fanlike pattern-large hanging pendants resembling stalactites *vault looks as if it had been some organic mass that hardened in the process of melting-intricate tracery recalling lace overwhelms the cones hanging from the ceiling-chapel represents the dissolution of structural Gothic into decorative fancy *architects released the Gothic style's original lines from their function and multiplied them into uninhibited architectural virtuosity and theatrics of the Perpendicular style--Contemporaneous in France is the Flamboyant style of Saint-Maclou at Rouen

12.12 Gislebertus, Last Judgment, Saint-Lazare, Autun, France, c 1120-1135

Christ in a mandorla presides over the seperation of the Blessed from the Damned in this dramatic vision of the Last Judgment, designed to terrify those guilty of sin and beckon them into the church *in 1132 Cluniac bishop Etienne de Bage consecrated the Burgundian cathedral of Saint-Lazare at AUtun, its tympanum he commissioned the sculptor Gislebertus to carve a dramatic vision of the Last Judgment-four trumpet blowing angles announce *tympanum's center-far larger than any other figure-is Christ enthroned in a mandorla-he dispassionately presides over the separation of the Blessed from the Damned *at the left an obliging angel boosts one of the Blessed into the heavenly city-below the souls of the dead line up to await their fate--two of the men near the center of the lintel carry bags emblazoned w/ a cross and a shell-symbols of pilgrims to Jerusalem and Santiago de Compostela *those who made the difficult journey would be judged favorably--to their right three small figures beg an angel to intercede on their behalf-the angel responds by pointing to the Judge above *right side are those who will be condemned to Hell-giant hands pluck one poor soul from earth-directly above is one of the most unforgettable renditions of the weighing of souls-Angels and devils compete at the scales-each trying to manipulate the balance for or against a soul-hideous demons guffaw and roar-giant, lined bodies w/ legs ending in sharp claws writhe and bend like long loathsome insect *a devil leaning from the dragon mouth of Hell-drags soul in while above him a howling demon crams souls headfirst into a furnace-resources of the Romanesque imagination conjured an appealing scene *"wise may fear the coming of the future judgment of the world's end

14.7 Cimabue, Madonna Enthroned with Angels and Prophets, c 1280-1290

Cimabue was one of the first artists to break away from the Italo-Byzantine style-he relied on Byzantine models, he depicted the Madonna's massive throne as receding into space *created for the church of Santa Trinita in Florence, reveals the painter's reliance on Byzantine models for the composition as well as gold background, Cimabue used the gold embellishments common to Byzantine art for the folds of Madonna's robe but they are no longer merely decorative patterns-they enhance the three dimensionality of the drapery *constructed a deeper space for Madonna and the surrounding figures to inhabit than is common in Byzantine art *Virgin's throne-massive structure that Cimabue convincingly depicted as receding into space--overlapping bodies of the angels on each side of throne and the half-length prophets who look outward or upward from beneath it reinforce the sense of depth

12.14 Interior of the abbey church of Notre-Dame, Fontenay, France, 1139-1147

Cistercians were great builders but rejected sculptural ornament, Fontenay church is typically austere, w/ its single-story nave and square east end lacking ambulatory or chapels *Church of Notre-Dame representive of the Cistercian approach to architectural design-church has a square east end w/out an ambulatory or chapels-walls are devoid of ornament and column capitals are plain-nave has a single story elevation w/ neither clerestory nor gallery *light reaches the nave through large windows in the flat east wall and because the aisle bay have transverse barrel vaults that channel light from outside tot he center of the building-architect used pointed arches-feature of Cluny III-both in the nave arcade and in the barrel vaults *Romanesque builders thought this feature gave churches the look and feel of the architecture of the Holy Land-but pointed arches also brought structural advantages *pointed arches transfer the thrust of vaults more directly downward to the piers and require less buttressing on the sides than do round arches *forward looking structural device permit Gothic architects to increase height of the nave dramatically

10.12 Maqsura of the Great Mosque, Cordoba, Spain, 961-965

Cordoba was the capital of Umayyad dynasty in Spain, Great Mosque's hypostyle prayer hall, 36 piers, and 514 columns support a unique series of double tiered horseshoe shaped arches *caliph al-Hakam II undertook major renovations to the mosque-his builders expanded the prayer hall and added a series of domes, they erected the elaborate maqsura-area reserved for the caliph and connected to his palace by a corridor in qibla wall *Cordoba maqsura is a prime example of Islamic experimentation w. highly decorative multilobed arches-builders created rich and varied abstract patterns and further enhanced the magnificent effect of the complex arches by sheathing the walls w/ marbles and mosiacs *mosaicists and tesserare were brought to Spain from Constantinople by al-Hakam II-wished to emulate the great mosaicclad monuments his Umayyad predecessor had erected in Jerusalem and Damascus

10.11 Prayer hall of the Great Mosque, Cordoba, Spain, 8th to 10th centuries

Cordoba was the capital of the Umayyad dynasty in Spain, Great Mosque's hypostyle prayer hall, 36 piers and 514 columns support a unique series of doubletiered horseshoe-shaped arches *the jewel of the capital at Cordoba was its Great Mosque begun in 784 and enlarged several times during the 9th and 10th centuries *became largest mosque of Islamic West, the hypostyle prayer hall has 36 piers and 514 columns topped by a unique system of double-tiered arches that carried a wooden roof (later placed by vaults) *two story system was the builder's response to the need to raise the roof to an acceptable height using short columns that had been employed earlier in other structures *lower arches are horseshoe-shaped a form adapted from earlier Near Eastern architecture of Visigothic origin, West the horseshoe arch quickly became closely associated w/ Muslim architecture *Visually these arches seem to billow out like windblown sails and they contribute greatly to the light and airy effect of the Cordoba mosque's interior

14.21 Doge's Palace, Venice, Italy, begun c 1340-1345, remodeled 1424-1438

Delicate patterning in cream and rose colored marbles pointed and ogee arches and the quatrefoil medallions of the Doge's Palace constitute a distinctive Venetian variation of northern Gothic architecture *most ornate public building in medieval Italy, first level's short and heavy columns support rather severe pointed arches that look strong enough to carry the weight of the upper structure--rhythm doubles in the upper arcades where slimmer columns carry ogee arches-double curving lines which terminate in flamelike tips between medallions pierced w/ quatrefoils-cloverleaf shaped-each story is taller than the one beneath it-topmost as high as the two lower arcades combined-building does not look top heavy *lightful and charming variant of Late Gothic architecture-colorful decorative lights and airy in appearance-Venetian Gothic is ideally suited to Venice which floats between water and air

13.24 Annunciation and Visitation, Reims Cathedral, Reims, France, c 1230-1255

Different sculptors working in diverse styles carved the Reims jamb statues-detached their figures from the columns and set the bodies and arms in motion, figures converse through gestures *Annunciation group also features statues liberated from their architectural setting, they are products of different workshops and one-angel Gabriel was first set in the left portal and then moved to its present location-stylistic dichotomy of the pair *Mary is slender figure w/ sever drapery, the artist preferred broad expanses of fabric to the multiplicity of folds of the Visitation Mary--Gabriel has a much more elongated body and is far more animated--he exhibits the elegant style of the Parisian court at the middle of the 13th century ** he pivots gracefully-almost if dancing and smiles broadly-like a courtier he exudes charm-Mary in contrast is serious and introspective and does not respond overtly to the news the angel has brought

13.5 Chartres Cathedral, Chartres, France, c 1145 - 1155 (interior, exterior, portals, door jambs, tympanums & the rebuilt Chartres after 1194)

Early Gothic west facade was all that remained of Chartes Cathedral after the fire of 1194, design still has much in common w/ Romanesque facades-rose window is an example of plate tracery *Work on the west facade began around 1145, lower parts of the massive west towers at Chartes and portals between them are all that remain of the cathedral destroyed in the fire 1194 before it had been completed-reconstruction of the church began immediately but in the High Gothic style *west entrance the Royal Portal-statue columns of kings and queens flanking its three doorways constitutes the most complete surviving ensemble of Early Gothic sculpture *Thierry of Chartes chancellor of the Cathedral School of Chartes may have conceived the complex iconographical program *archivolts of right portal depict the seven female Liberal Arts and their male champions-figures represent the core of medieval learning and symbolize human knowledge which Thierry and other Schoolmen believed led to true faith *sculptures of the Royal Portal proclaim the majesty and power of Christ-unite the three doorways iconographically and visually the sculptors carved episodes from Christ's life on the capitals-form a frieze linking one entrance to the next *tympanum of the right portal Christ appears in the lap of the Virgin Mary-scenes of his birth and early life fill the lintel below *tympanum's theme and composition recall Byzantine representations of the Theotokos-and Romansque Throne of Wisdom *mary's prominence on the Chartes facade has no parallel in the decoration of Romanesque church portals-the designers gave her a central role in the sculptural program-position maintained throughout the Gothic period *cult of Virgin Mary reached a high point in Gothic Age-Mother of Christ she stood compassionately between the Last Judge and the horrors of Hell-interceding for all her faithful * Christ's Ascension into Heaven appears in the tympanum of the left portal-archivolts are the signs of the zodiac and scenes representing the various labors of the month of the year-they are symbols of the cosmic and early worlds *Second Coming is the subject of the central tympanum-signs of the four evangelist and 24 elders of the Apocalypse and 12 apostles appear around Christ or on the lintel-Second Coming the Last Judgment theme-Early Gothic Chartres-theme became symbol of salvation rather than damnation *statues of the Old Testament kings and queens decorate the jambs flanking each doorway of the Royal Portal they are the royal ancestors of Christ support the New Testament above the doorways--wear 12th century clothes and medieval observers also regard them as images of kings and queens of France--figures stand rigidly upright w/ their elbows held close against their hips *linear folds of their garment-inherited from Romanesque style-w/ elongated proportions generally echo the vertical lines of the columns behind them-Gothic figures attached to the columns *statues displayed the first signs of a new naturalism, sculptors conceived and treated the figures as three dimensional volumes not reliefs and they stand out from the plane of the wall-new naturalism is noticeable in the statue's heads where kindly human faces replace the mask-like features of the Romansque figures *personalization of appearance began led first to idealized portraits of perfect Christian and by 1400 into the portraiture of specific individuals-sculptors of Royal Portal statues initiated an era of artistic concern w/ personality and individuality

14.1 & 14.9 Giotto, Arena Chapel & Lamentation, c 1305

Fresco painted in several sections--Giotto used the diagonal slope of the rocky landscape to direct the viewer's attention toward the head of the sculpturesque figure of the dead Christ *Arena Chapel at Padua show his art at its finest, consecrated in 1305 Arena Chapel takes it name from an Ancient Roman amphitheater nearby--Scrovengi built the chapel--erected the chapel he intended for his family's private use--in part to expiate the banker's sin of usury *rectangular barrel-vaulted hall as six narrow windows only in its south wall which left the entire north wall an unbroken and well illuminated surface for painting-building seems to have been designed to provide Giotto w/ flat surface for presenting impressive and complete Christian pictorial cycles ever rendered *38 framed pictures arranged on three levels-artist related the most poignant incidents from lives of Virgin and her parents Joachim and Anna the life and mission of Christ and his Passion, Crucifixion and Ressurection *three pictorial levels rest on coloristically neutral base--imitation marble veneer reminiscent of ancient Roman decoration-alternates w/ Virtues and Vices painted in grisaille to resemble sculpture--climatic event of cycle of human salvation -Last Judgment covers most of the west wall above chapel's entrance *Lamentatation reveals the essentials of his style--presence of boldly foreshortened angels seen head on w/ their bodies receding into the background and darting in hysterical grief a congregation mourns over the dead body of the Savior just before its entombment *Mary cradles her son's body while Mary Magdalene looks solemnly at the wounds in Christ's feet and Saint John the Evangelist thrown his arms back dramatically--arranged a shallow stage for the figures-bounded by a thick diagonal rock incline that defines a horizontal ledge in foreground *ledge provides firm visual support for the figures and steep slope indicates the picture's dramatic focal point at lower left, rocky setting which recalls that of a 12th century Byzantine mural *connected the framed scenes throughout the fresco cycle--figures are sculpturesque, simple, weighty did not preclude motion and emotion--Mary's almost fierce despair to the passionate outbursts of Mary Magdalene and John to the philosophical resignation of the two disciples at the right and mute sorrow of the two hooded mourners in the foreground *single event provokes intense response, figures are grouped w/in constructed space-each group has its own definition and each contributes to the rhythmic order of the compositions *strong diagonal of rocky ledge single dead tree concentrates the viewer's attention on the group around the head of Christ-massive bulk of the seated mourner in painting's left corner arrests and contains all movement-seated mourner to right establishes a relation w/ center figures-draw viewer's attention back to Christ's head *figures seen from back represent an innovation in development away from formal Italo-Byzantine style--figures emphasize the foreground aiding the visual placement of the intermediate figures farther back in space--puts viewers behind the observer figures *depicting spatial depth and body mass w/ management of light and shade-shaded his figures to indicate both direction of light that illuminates them and the shadows giving the figures volume *light falls upon the upper surfaces of the figure and passes down to dark in their draperies separating the volumes one from the other and pushing one to the fore and the rear *graded continuum of light and shade directed by an even neutral light from a single steady source-development of Chiaroscuro in later Renaissance painting *stagelike settings-innovations in perspective and lightning suited perfectly the dramatic narrative the Franciscans emphasized then as a principal method for educating the faithful in their religion *synthesized dramatic narrative holy lessons and truth to human experience in a visual idiom of his own invention -his frescoes served as textbooks for generations for Renaissance painters

14.8 Giotto, Madonna Enthroned, c 1310

Giotto displaced the Byzantine style in Italian painting and revived this naturalism of classical art-his figures have substance dimensionality and bulk and give the illusion that they could throw shadows *panel painted for the high alter of the Ognissanti church in Florence---Madonna rests w/ in her Gothic throne w/ unshakable stability of an ancient marble goddess, Virgin's weighty queenly mother-Madonna's body is not lost--it is asserted-shows her breast pressing through the thin fabric of her white undergarment-gold highlights have disappeared from her heavy robe *construct a figure pressed in favor of a spiritual immateriality in Byzantine and Italo-figures projecting into the light and giving the illusion that they could throw shadows *marks the end of medieval painting in Italy and the beginning of a new naturalistic approach to art

12.22 Hildegard of Bingen, Hildegard receives her visions, Scivias, c 1150-1179

Hildegard of Bingen, the most prominent nun of her time, experienced divine visions, shown as five tongues of fire entering her brain-she also composed music and wrote scientific treatises *on the opening page of the Trier manuscript Hildegard sits w/in monastery walls her feet resting on a footstool *this Romanesque page is a link in a chain of author portraits w/ roots in classical antiquity-artist showed Hildegard experiencing her divine vision by depicting five long tongues of fire emanating from above and entering her brain-just as she describes in the accompanying text *Hildegard immediately sets down what has been revealed to her on a wax tablet resting on her knee-nearby the monk Volmar-Hildegard's confessor copies into a book all she has written-in a singularly dramatic context-picture of the essential nature of ancient and medieval book manufacture-individual scribes copying and recopying texts by hand

14.11 Duccio, Betrayal of Jesus, Siena Chapel Alter Piece, 1309-1311

Humanization of religious subject matter *artist represented several episodes of the event the betrayal of Jesus by Judas's false kiss- the disciples fleeting in terror--and Peter cutting off the ear of the high pries's servant--background of golden sky and rock formations remain traditional--bodies are not flat frontal shapes of Italo-Byzantine art-imbued them w/ mass, modeled them w/ a range from light to dark and arranged their draperies around them convincingly *figures react to central event, posture, gesture and facial expression display a variety of emotions--figures are actors in a religious drama that artist interpreted in terms of thoroughly human actions and reactions--narrative panels--Duccio took a decisive step toward humanization of religious subject matter

9.11 Theodora and attendants, c 547

Justinina's counterpart on the opposite wall of the apse is Theodora- accompanied by her retinue, she holds the golden cup with wine, empress stands in state beneath an imperial canopy, waiting to follow the emperor's procession *attendant beckons her to pass through the curtained doorway, she is outside the sanctuary in a courtyard w/ a fountain, her rank was not quite equal to her consort's *her prominent role in mosaics program of San Vitale is proof of power she wielded at Constantinople *representation of the 3 magi on the border of her robe suggests that she belongs in elevated company of 3 monarchs who approached newborn Jesus bearing gifts * she was not born into an aristocratic family, father died when she was a child- he was keeper of bears-one of the circus factions at Constantinople-prepare these animals for bear fights, bear hunts, and acrobatic performances involving bears in a long tradition rooted in ancient ROme *her mother was an actress, young theodora took up same career *justinian met theodora when he was 40 yrs old-she was only 25-she became his mistress, became her husband's trusted adviser she repaid him for elevating her from poverty and disgrace to riches and prestige *she persuaded Justinian and his generals to hold their ground when all of her husband's ministers counseled flight from the city during Nika revolt in Constantinople in 532-revolt was suppressed

9.31 Christ as Savior of Souls, early 14th century

Lavish use of finely etched silver foil, typifies Byzantine eclecticism, Christ's fully modeled head and neck contrast w/ schematic linear folds of his garment *notable for lavish use of finely etched silver foil to frame the painted figure of Christ as Savior of OSuls *comes from Saint Clement at Ohrid in Macedonia, where many Late Byzantine icons imported from the capital have been preserved *painter of the Ohrid Christ-conservative nature-iconographical and stylistic tradition traceable to the earliest icons from the monastery at Mount Sinai *Savior holds a bejeweled Bible in his left hand while he blesses the faithful w/ his right hand *juxtaposition of Christ's fully modeled head and neck, which reveal the Byzantine painter's Greco-Roman heritage, w/ schematic linear folds of Christ's garment, which do not envelop the figure but rather seem to be placed in front of it *Ohrid icon of Christ has a painting of the Crucifixion its reverse

10.28 Maqsud of Kashan, carpet from the funerary mosque, 1540

Maqsud of Kashan's enormous Ardabil carpet required roughly 25 million knots, it presents the illusion of a heavenly dome w/ mosque lamps reflected in a pool of water w/ floating lotus blossoms *the name Maqsud of Kashan is woven into the design of the carpet-he must of been the designer who supplied the master pattern to two teams of royal weavers-carpet 35 x18 ft consists of 25 million knots some 340 to the square inch *design consists of a central sunburst medallion, representing the inside of a dome surrounded by 16 pendants, mosque lamps appropriate motifs for the Ardabil funerary mosque are suspended from two pendants on the long axis of the carpet *lamps are of different sizes-optical device to make the two appear equal in size when viewed from the end of the carpet at the room's threshold *rich blue background is covered w/ leaves and flowers attached to delicate stems that spread over the whole field, entire composition presents the illusion of a heavenly dome w/ lamps reflected in a pool of water full of floating lotus blossoms *no human or animal figures appear as befits a carpet intended for a mosque

11.8 Chi-Rota-Iota page, Book of Kells, late 8th or early 9th century

Opening page to the Gospel of Saint Matthew, the painter transformed the biblical text into abstract pattern, literally making God's words beautiful-intricate design recalls early medieval metalwork *Page reproduced opens account of the nativity of Jesus in the Gospel of Saint Matthew-initial letters of Christ in Greek occupy nearly the entire page-two words autem and generatio appear at the lower right *read: Now this is how the birth of Christ came about, page corresponds to the opening of Matthew's Gospel-passage read in Church on Christmas Day *illuminator transformed the holy words into extraordinary intricate abstract designs that recall Celtic and Anglo-Saxon metalwork *cloisonne-like interlace is not purely abstract pattern-letter rho for example ends in a male head- and animals are at its base to the left of h gneratio *half-figures of winged angels appear to the left of chi, accompanying the monogram as if accompanying Christ himself-close observation reveals many other figures, human, and animal

9.4 Anthemius of Tralles & Isidorus of Miletus, interior of Hagia Sophia, Constantinople (Istanbul), Turkey 532-537

Pendentive construction made possible Hagia Sophia's lofty doe, to ride on a halo of light *soaring canopy-like dome that dominates the inside as well as outside of the church rides on a halo of light from windows in the dome's base *40 windows at the base of the dome create the illusion that the dome is resting on light that pours through them *vastness of space shot through w/ light and a central dome that appears to be supported by the light it admits, light that glitters in the mosaics, shines for the from the marble0clad walls and floors and pervade and defines space *light seems to dissolve material substance and transform it into an abstract spiritual vision *used pendentives to transfer the weight from the great dome to the piers beneath rather than to the walls *pendentives create impression of a dome suspended above not held up by walls *a domed basilica-external buttresses necessary and internal northern and southern walls piers and eastern and western half-domes **semidomes' thrusts descend, in turn-into still smaller half-domes surmounting columned exedrae that give a curving flow to the design * first use of pendentives on a monumental scale in the mid-6th century

12.4 Saint-Sernin, Toulouse, France, c 1070-1120 (interior and exterior)

Pilgrimages were a major economic catalyst for the art and architecture of the Romanesque period. clergy vied w/ one another to provide magnificent settings for the display of holy relics *example of stone vaulting is the church of Saint-Sernin at Toulouse, construction began around 1070 to honor the city's first bishop, a martyr saint of the middle of the third century, Toulouse was an important stop on the pilgrimage road through southwestern France to Santiago de COmpostela *Large congregations were common at shrines along the great pilgrimage routes, and unknown architect designed Saint-Sernin to accommodate them--12th century exterior is still largely intact-two towers of the western facade were never completed-and prominent crossing towers dates to the Gothic and later periods *articulation of the building's exterior walls were buttresses frame each bay, also reflects the segmentation of the nave-integrated scheme-repeated units decorated and separated by moldings

12.25 Cathedral complex, Pisa, Italy, 1063 - 1174

Pisa's cathedral more closely resembles Early Christian basilicas than the structurally more experimental northern Romanesque churches, Separate bell towers and baptisteries are characteristically Italian *the cathedral complex at Pisa dramatically testifies to the prosperity that busy maritime city enjoyed-spoils of a naval victory over Muslims off Palermo in Sicily in 1062 provided the funds for the Pisan building program-cathedral its freestanding bell tower, and baptistery where infants and converts were initiated into the Christian community-present a rare opportunity to study a coherent group of three Romanesque buildings *Save for the upper portion of the baptistery w/ its remolded Gothic exterior- three structures are stylistically homogeneous-construction of Pisa Cathedral began first in 1063, Pisa Cathedral is large w/ a nave and four aisles and is one of the most impressive and majestic of all Romanesque churches *Pisans wanted their bishop's church not only to be a monument to the glory of God but also bring credit to the city-the cathedral resembles an Early Ch ristian basilica w/ a timber roof, columnar arcade, and clerestory *But the broadly projecting transept w/ apses, crossing dome, and facade's multiple arcaded galleries distinguish it as Romanesque--rich marble incrustation-wall decoration consisting of bright panels of different colors-cathedral's campanile detached in the standard Italian fashion is Pisa's famous Leaning Tower *graceful arcaded galleries mark the tower's stage and repeat the cathedral's facade motif, effectively relating the round campanile to its mother building-tilted vertical axis of the tower is the result of a settling foundation-tower began to lean even while under construction and by late 20th century had inclined some 5.5 degrees *international team of scientists began to remove soil from beneath the north side of tower-moved the tower more than an inch closer to vertical and ensured the stability of the structure for at leas 300 yrs

11.19 Schematic plan for a monastery at Saint Gall, Switzerland, c 819

Purpose of this plan for an ideal, self-sufficient Benedictine monastery was to separate the monks from the laity, near center stands the church w/ its cloister, an earthly paradise reserved for monks *ideal monastery provided all the facilities necessary for the conduct of daily life-a mill, bakery, infirmary, vegetable garden, even a brewery-so that monks felt no need to wander outside its protective walls **these religious communities were centrally important to the revival of learning,clergy who were also often scribes and scholars had a monopoly on the skills of reading and writing in an age of almost universal illiteracy * Construction and expansion of many monasteries also characterized the Carolingian period, unique document-ideal plan for a Benedictine monastery at Saint Gall in Switzerland, proovides precious information about the design of Carolingian monastic communities *Haito, the abbot of Reichenau and bishop of Basel,comissioned the drawing and sent it to the abbot of Saint Gall around 819 as a guide for the rebuilding of Saint Gall monastery-the design's fundamental purpose was to separate the monks from the laity (nonclergy) who als inhabited the community *Variations of the scheme may be seen in later monasteries all across western Europe *Near the center-dominating everything was the church w/ its cloister-colonnaded courtyard not unlike the Early Christian atrium but situated to the side of the church-reserved for the monks alone-cloister-earthly paradise removed from the world at large-provided for the peace and quiet necessary for contemplation *clustered around the cloister-dormitory, refectory, kitchen, storage rooms, **infirmary, school, guest house, bakery, brewery, workshops were grouped around this central core of church and cloister

13.37 Virgin of Jeanne d'Evreux, 1339

Queen Jeanne d'Everux donates this luxurious reliquary statuette to the royal abbey church of Saint Denis-intimate human characterization of the holy figures recalls that of the Virgin of Paris *Silver gilt figurine--queen, wife of Charles IV donated the image of the Virgin and Child to the royal abbey church of Saint Denis in 1330, Mary stands on a rectangular base decorated w/ enamel scenes of Christ's Passion-no hint of grief appears in the beautiful young Mary's face *Christ child playfully reaches for his mother-elegant proportions of the two figures Mary's emphatic swaying posture-heavy drapery folds and intimate human characterization of mother and son are also features of the roughly contemporary Virgin of Paris-sculptor of large stone statues and royal silversmith working at small scale approached the representation of the Virgin of Paris-Mary appears not only as Mother of Christ but also as the Queen of Heaven *Saint Denis Mary originally had a crown on her head--scepter she holds is in the form of the fleur delis-French monarchy's floral emblem--Statuette also served as a reliquary--Virgin's scepter contained hairs believed to come from Mary's head

12.24 Head reliquary of Saint Alexander, 1145

Saint Alexander's reliquary is typical in the use of costly materials----combination of an idealized classical head w/ Byzantine-style enamels underscores the stylistic diversity of Romanesque art * Reliquary of Saint Alexander made in for Abbot Wibald of Stavelot in Belgium to the house the hallowed pope's relics *almost life-size head-fashioned in repousse silver w/ bronze gilding for the hair, gives worshipers the impression the impression that the saint is alive and present- the idealized head resembles portraits of youthful Roman emperors such as Augustus and Constantine and Romanesque metalworker may have used an ancient sculpture as a model *saint wears a collar of jewels and enamel plaques around his neck, enamels and gems also adorn the box on which the head is mounted-reliquary rests on four bronze dragons-mythical animals of kind that populated Romanesque cloister capitals-Bernard of Clairvaux was a critical of lavish church furnishings like the Alexander reliquary as he was of Romanesque cloister sculpture *central plaque on the front of the Stavelot reliquary depicts Pope Alexander II, Saints Eventius and Theodolus flank him, the nine plaques on the other three sides represent female allegorical figures-Wisdom, Piety, and Humility among them * Saint Alexander's reliquary underscores the multiple sources of Romanesque art as well as its stylistic diversity---

9.24 Interior of Saint Mark's Venice, Italy, begun 1063

Saint Mark's has a central dome over the crossing and four other domes over the four equal arms of the Greek cross-walls and vaults are covered w/ 40,000 square feet of dazzling mosaics *light enters through a row of windows at the bases of all five domes, vividly illuminating rich cycle of mosaics, mosaics date to 12th and 13h centuries *dome 80 feet above dloor and 42 feet in diameter, Christs ascends to Heaven in presence of Virgn Mary and the 12 apostles *great arch framing the church crossing bears a narrative of the Crucifixion and Resurrection of Christ and of his liberation from death (ANastasis) of Adam and Eve, Saint John the Baptist, and other biblical figures *mosaics have explanatory labels in Latin and Greek, reflecting Venice's position as the key link between eastern and western Christendom in later Middle Ages *insubstantial figures on walls, vaults, domes appear weightless, project no farther from their flat field than do the elegant Latin and Greek Letters above them *nothing reflects on the world of matter, of solids, of light and shade,of perspective space *mosaics reveal the mysteries of Christian faith

11.14 Saint Matthew, Ebbo Gospels, c 816-835

Saint Matthew writes frantically, and folds of his drapery writhe and vibrate, even the landscape behind him rears up alive, the painter merged classical illusionism w/ northern linear tradition *Saint Matthew in a Gospel book made for Archbishop Ebbo of Reims, France may be an interpretation of an author portrait very similar to the one the Coronation Gospels master used as a model * Ebbo Gospels illuminator, replaced the classical calm and solidity of the Coronation Gospels evangelist w/ an energy that amounts to frenzy * Matthew-winged man in the upper right corner identifies him writes in frantic haste, his hair stands on end his eyes open wide, folds of his drapery writhe and vibrate the landscape behind him rears up alive *painter even set the page's leaf border in motion, Matthew's face, hands, inkhorn, pen, and book are the focus of the composition *this contrasts w/ settled pose of Saint Matthew of the Coronation Gospel w/ its even stress so that no part of the composition jumps out a viewers to seize their attention, Ebbo Gospels artist translated a classical prototype into a new Carolingian vernacular-this master painter brilliantly merged classical illusion and northern linear tradition

9.10 Justinian, Bishop Maximianus, and attendants, c 547

San Vitale's mosaics reveal the new Byzantine aesthetic, Justinian foremost among the weightless and speechless frontal figures hovering before the viewer *the two are united cisually and symbolically (Jesus), by the imperial purple they wear and their halos, dozen attendants accompany him *he paralleling Christ's 12 apostles *position of the figures are all-important, express formulas of precedence and rank, JUstinian is at the center, distinguished from other dignitaries by his purple robe and halo *at his left is Bishop Maximianus-man responsible for San Vitale's completion, mosaicist stressed bishop's importance by labeling his figure w/ only identifying inscription in composition *Julianus Argentarius-church's benefactor *artist dived the figures into three groups: emperor and his staff, the clergy, and imperial guard, bearing a shield with chirrhoiota monogram of Christ *each group has a leader whose feet precede one foot overlapping the feet of those who follow *emperor appears to be slightly behind the bishop the golden paten (large shallow bowl or plate for the Eucharist bread) he carries overlaps the bishop's arm *symbolized by place and gesture imperial and churchly powers are in balance *his patent, Maximianus's cross and attendants clerics' books and censer produce a slow forward movement strikingly modifies the scene's rigid formality-no background is indicated *artist wished observer to understand the procession as taking place in this very sanctuary *emperor appears forever as a participant in the sacred rites and as the proprietor of royal church of Western Empire *feet firmly on the ground

8.18 Miracle of the loaves and fishes, c 504

Sant' Apollinare Nuovo. Jesus here faces directly toward the viewer, blue sky has given away to the otherworldly splendor of heavenly gold, the standard background color for medieval mosaics *Jesus, beardless, in imperal dress of gold and purple-distinguished by the cross-inscribed nimbus that signifies his divinity, faces the viewer directly *with extended arms he instructs his disciples to distribute to the great crowd the miraculously increased supply of bread and fish e has produced *emphasis on the holy character of the event, spiritual fact that Jesus is performing a miracle by the power of his divinity *presence of almighty power- not anecdotal narrative, important aspect of this scene *told the story w/ the least number of figures necessary to make its meaning explicit-aligned figures laterally-move them close to the foreground-placing them in a shallow picture box *inherited classical naturalism and Late Antique abstraction from Roman art *blue sky of the physical world has given way to the otherworldly splendor of heavenly gold, ethereal golden background, weightless figures w/ their flat, curtainlike garments

13.51 Virgin with the Dead Christ (Rottgen Pieta), ca 1300-1325

Statuette of the Virgin grieving over the distorted dead body of Christ in her lap reflects the widespread troubles of the 14th century and German interest in emotional imagery *haunting 14th century German painted wooden statuette of Virgin Mary holding the dead Christ in her lap *widespread troubles of the 14the century--war, plague, famine, social strife brought on more acute awareness of suffering-sensibility found its way readily into religious art-Dance of Death--Christ as the Man of Sorrow-Seven Sorrows of the Virgin Mary became favorite theme-fevered and fearful piety sought comfort and reassurance in the reflection that Christ and the Virgin Mother shared humanity's woe *artist emphasized the traits of human suffering powerful expressive exaggeration- sculptor portrayed Christ as a stunted, distorted human wreck--stiffened in death and covered w/ streams of blood gushing from a huge wound--Virgin Mother-cradles him like a child in her lap-maternal anguish her oversized face twisted in an expression of unbearable grief *artist forcibly confronts the devout w/ an appalling icon of agony, death, and sorrow that humanizes to the point of heresy-the sacred personages-work calls out to the horrified believer-what is your suffering compared to this

10.5 Great Mosque, Damascus, Syria, 706-715

The hypostyle of mosque most closely recalls the layout of Muhammad's house in Medina, Damascus's Great Mosque also owes a debt to Roman and Early Christian architecture in its plan and decoration *

11.7 Saint Matthew, Lindisfarne Gospels, c 698-721

The inspiration for this author portrait may have been a Medierranean book, illuminator converted the model's fully rounded forms into the linear flat-color idiom of northern European art *the Matthew symbol in the Book of Durrow reveals that the illuminator's concern was abstract design- not the depcition of the natural world *in Insular manuscripts, the northern artists based their compositions on classical pictures in imported Mediterranean books *Hiberno-Saxon illuminator's model must haven been one of the illustrated Gospel books a Christian missionary brought from Italy to England-Author portraits were familiar features of Greek and Latin books, similar presentation of seated philosophers or poets writing or reading abound in ancient art-Lindisfarne Matthew sits in his study composing his account of life of Christ *curtain sets the scene indoors as in classical art and the evangelist's seat is at an angle-suggests a Mediterranean model employing classical perspective *the painter labeled Matthew in a curious combination of Greek and Latin-lend prestige of two classical languages to the page * Accompanying Matthew is his symbol- winged man-disembodied head and shoulders-behind the curtain is uncertain *among the possibilities are Christ, Saint Cuthbert, and Moses holding the closed book of the Old Testament in contrast w/ open book of Matthew's New Testament-common juxtaposition in medieval Christian art and thought *southern manuscript inspired the Lindisfarne composition, the Northumbrian painter's goal was not to copy the model faithfully *the subject is conceived in terms of line and color exclusively, Hiberno-Saxon manuscript-drapery folds are a series of sharp, regularly spaced, curving lines filled in w/ flat colors *Painter converted fully modeled forms bathed in light into the linear idiom of northern art-result is a vivid new vision of Saint Matthew

11.3 Purse cover, c 625

This purse cover is one of many treasures found in a ship beneath a royal burial mound *the combination of abstract interlace ornament w/ animal figures is the hallmark of early medieval art in western Europe *decorated w/ cloisonne plaque, metalworkers produced cloisonne jewelry by soldering small metal strips, or cloisons edge up to a metal background, and then filling the compartment w/ semiprecious stones, pieces of colored glass, or glass paste fired to resemble sparkling jewels *edge of the cloisons are an important part of the design *Cloisonne is a cross between mosaic and stained glass , but medieval artists used it only a miniature scale *four symmetrically arranged groups of figures make up the lower row, end groups consist of a man standing between two beasts, he faces front and they appear in profile *heraldic type of grouping has a venerable heritage in the ancient world-pictorial parallel to epic sagas of eh era which heroes like Beowulf battle and conquer horrific monsters *the two center groups represent eagles attacking ducks-animal figures are cunningly composed *convex beaks of the eagles fit against the concave beaks of the ducks-two figures fit together so snugly that thy seem at first to be a single dense abstract design *above these figures are three geometric designs--outer ones are purely linear-rely on color contrasts for their effects *in central deign, an interlace pattern-interlacements evolve into writhing animal figures *elaborate intertwining linear patterns are characteristic of many times and places-combination of interlace w/ animal figures was uncommon outside the realm of the early medieval warlords *metalcraft w/ interlace patterns and other motif beautifully integrated w/ animal form was the premier art of the early Medieval Ages in western Europe * intimidated the colorful effects of jewelry designs in painted decorations of manuscripts, in masonry of churches and in sculpture n stone and in wood

11.6 Man (symbol of Saint Matthew), Book of Durrow, c 660-680

early Hiberno Saxon Book of Durrow includes four pages devoted to the symbols of the Four Evangelists-cloak of Saint Matthew's man resembles a cloisonne brooch filled w/ abstract ornament *symbol of Saint Matthew- is a man more commonly represented later as winged-the only human parts that the artist-seventh century monk chose to render are a schematic frontal head and two profile feet *a cloak of yellow, red, and green squares resembling cloisons filled w/ intricate abstract designs and outlined in dark brown or black envelops the rest of the body *the book weds the abstraction of early medieval personal adornment w/ Early Christian pictorial imagery, vehicle for the transmission of those Mediterranean forms was the illustrated book itself- Christian missionaries brought to northern Europe

14.22 Milan Cathedral, begun 1386

elaborate facade is confused mixture of Late Gothic pinnacles and tracery and Renaissance pediment-capped rectilinear portals-marks the waning of the Gothic style *building's proportions the nave's became Italian-remained Gothic--France are the multitude of pinnacles and elaborate tracery on the facade, flank, and transept *new classical style of Italian Renaissance had been launched and Gothic design had become outdated *cathedral's elaborate facade represents confused mixture of Late Gothic and Renaissance elements-pediment capped rectilinear portals amid Gothic pinnacles-cathedral stands as a symbol of waning of Gothic style and advent of Renaissance

13.23 Reims Cathedral, Reims, France c 1225 - 1290

facade of Reims Cathedral displays the High Gothic architect's desire to reduce sheer mass and replace it w/ intricately framed voids-stained glass windows not stone reliefs fill the tympana *Construction where the coronations of the Kings of France took place--began few years after work commenced at Amiens--Reims builders carried the High Gothic style of Amiens west facade still further both architecturally and sculpturally *two facades-king's gallery of statues at Reims is above the great rose window-figures stand in taller and more ornate frames--designer stretched every detail of the facade--openings in the towers and those to the left and right of the rose windows are taller, narrower, more intricately decorated and closely resemble the elegant lancets of clerestory w/in *pointed arch also frames the rose windows-pinnacles over the portals are taller and more elaborate than those at Amiens *treatment of tympana over the doorways where stained-glass windows replaced the stone relief sculpture of earlier facades--contrast w/ Romanesque heavy masonry construction is extreme--prime example of High Gothic style in sculpture *statues and reliefs of the west facade celebrate the Virgin Mary-Mary is crowned as Queen of Heaven-on the trumeau she appears in her role as the New Eve above the reliefs depicting the Original Sin--jamb statues relate episodes from Infancy cycle--including the Annunciation and Visitation--all four illustrated statues appear to be detached from their architectural background--sculptors shrank the supporting columns into insignificance so that they do not restrict the free and easy movements of the full-bodies figures **the background columns occupy a volume equal to that of the figures *statues vividly illustrate that the sculptural ornamentation of Gothic cathedrals took decades to complete and required many sculptors often working in diverse style--art historians believe that three different sculptors carved the four statues at different times during quarter century *Visitation group-is the work of an artist who probably studies classical statuary-Reims was an ancient ROman city and the heads of both Mary and Saint Elizabeth resemble Roman portraits-Gothic statues approximation of the classical naturalistic style and incorporate contrapposto postures that go far beyond the stance of the Chartes Saint Theodore-swaying of hips more pronounced--right legs bend and knees press through the rippling folds of the garments-sculptor also set figures' arms in motion-Mary and Elizabeth turn their faces toward each other and they converse through gestures

9.33 Andrei Rublyev, Three angels (Old Testament Trinity), c 1410

features subtle lines and intensely vivid colors, depicts the three angels who appeared to Abraham prefiguring the Trinity *five foot tall panel depicting the three Old Testament angels who appeared to Abraham is a work of great spiritual power *unsurpassed example of subtle line in union w/ intensively vivid color *angels sit about a table, each framed w/ a halo and sweeping wings, three nearly identical figures distinguished only by their garment colors *light linear play of the draperies sets of the tranquil demeanor of the figures *Color defines the forms and becomes more intense by the juxtaposition of complementary hues *intense blue and green folds of the central figure's cloak, for example, stand out starkly against the deep-red robe and the gilded orange of the wings *figure on the left- highlights of the orange cloak are opalescent blue green *unmodulated saturation, brilliance, and purity of the color harmonies are the hallmark of Rublyev's style

10.25 Mihrab, c 1354

the Madrasa Imami mihrab is a masterpiece of mosaic tile work, every piece had to be cut to fit its specific place in the design-exemplifies the perfect aesthetic union between Islamic calligraphy and ornament *14th century mihrab from Madrasa Imami in Isfahan exemplifies the perfect aesthetic union between Islamic calligrapher's art and abstract ornament *pointed arch that immediately frames the mihrab niche bears an inscription from the Koran in Kufic, stately rectilinear script used in the ninth century Koran discussed earlier *many supple cursive styles also make up the repertoire of Islamic calligraphy-Muhaqqaq fills the mihrab's outer rectangular frame-mosaic tile ornament on the curving surface of the niche and the area above the pointed arch are composed of tighter and looser networks of geometric and abstract floral motifs *mosaic technique is masterful-every piece had to be cut to fits specific place in the mihrab *framed inscription is center of niche-proclaiming that the mosque is the domicile of pious believer-smoothy integrated w/ the subtly varied patterns *mihrab outermost inscription-detailing the five pillars of Islamic faith-serves a fringelike extension-and boundary for entire design *calligraphic and geometric elements are so completely unified that only the practiced eye can distinguish them *artists transformed the architectural surface into a textile surface-3 dimension into 2 dimensional hanging-weaving calligraphy into it as a cluster of motifs w/ total patterns

9.22 Interior of the Katholikon, Hosios Loukas, Greece, first quarter of the 11th century

the dome of the Katholikon rests on an octagon formed by squinches play the same role as pendentives in making the transition from a square base to a round dome but create a different visual effect *placed dome over an octagon inscribed within a square, forming the octagon are squinches play same role as pendentives in making the transition from a square base to a round dome but create a different visual effect on the interior *its complex core lies w/in two rectangles-outer one forms the exterior walls-center out, a circle-octagon-square-oblong series exhibits an intricate interrelationship that is at once complex and unified *interior elevation of the Katholikon reflects its involved plan *byzantine buildings-churches creates a mystery out of space, surface, light, and dark, high and narrow-forces viewer's gaze to rise and revolve *eye is drawn upward toward the dome-flat walls and concave recesses, wide and narrow openings-groin and barrel vaults-single, double, and triple windows- and illuminated and dark spaces *creation of complex interior spaces w/ dramatically shifting perspectives