ARTH 1440 Exam 4

St. Pierre, Moissac

Another example of Romanesque architecture, the Abbey Church of St. Pierre in Moissac allows us to study the continued popularity of monasteries as centers of learning and manuscript production. This one in particular contains some of the best preserved Romanesque sculpture. Here we can see not just the church, which is largely located in the right side of the image, but the cloister, an open atrium/garden where monks would utilize during the daylight hours. This is the entrance to the abbey, which contains extensive decoration. This will be typical in the churches that we see for the rest of the class- extensive sculptural decoration around the portals to churches.

Christ and the Four Symbols of the Evangelists

Another ivory plaque, this one with a familiar theme: Christ in Majesty. Christ is frontally posed on a block like throne with delicate fluttering drapery and emblems of the Evangelists around him The entire thing has a border comprised of a vegetal motif. Ivory was symbolic for holiness because of its light color

Gero Crucifix

Gero Crucifix is the oldest large sculpture of crucifixion in the North, and is located in Cologne Cathedral, Germany. So called because it was donated by Archbishop Gero Wooden sculpture was also popular in the medieval north, and this is one of the oldest surviving examples of it. Unique because it depicts the dead Christ. Later, we will see much more gruesome depictions of the crucifixion, but this is their precursor. Christ's head is bowed; his eyes are closed. Christ not depicted as the victor over death, like we are used to with crucifixion scenes where Christ seems to float, but as a human being in the depths of humiliation. Symbolic of a shift in Christian dogma in the late tenth century. More focus was put on the suffering of Christ. Northerners have a penchant for what one of my professors called "fur and feathers"- essentially they like texture and detail.

Rayonnant

Gothic architecture with an emphasis on light and windows

Milan Cathedral, Italy

Milan Cathedral is a blend of Italian and German, English, and French styles. It's main focus lies on decoration, but exterior decoration. It is also the largest Gothic cathedral in Italy, and the fifth tallest church in the world--- it is 354 feet high- putting it well above the 180 feet of Hagia Sophia. However, it is Italian in its proportions, and does not have the emphasis on pure verticality that we would expect in France or Germany. It's interior is not particularly remarkable, but it follows the general Gothic style. It, like Cologne, lied unfinished for hundreds of years. Unlike Cologne, construction continued on the church throughout its life.

The Crucifixion, Bishop Bernward's Doors, Bronze, 1015

This is the crucifixion, from the same set of doors. There is more liveliness to these figures, a bit more relief. Still very cursory- we have just the main identifying attributes of the scene- the cross, the soliders who torture Christ, Mary, and John. However, when paired together, as they are on the door, they represent a common theme in Christian doctrine, namely that Christ's crucifixion was to save the world from Original Sin, here being committed by Adam and Eve. Powerful symbol as you walked into the church.

January The Tres Riches Heures du Duc de Berry

This is the month of January, which shows the Duke's house exchanging new year's gifts. On the right is a detail, and you can see the Duke in the blue peacock robe. Below him is a greyhound or whippet type dog, which indicates the status of the duke- in many medieval European societies, only aristocrats were allowed to own hunting dogs, although peasants usually bred them. These pages are only about 8x11' , so the level of detail is pretty amazing.

Beau Dieu, Amiens

We will not consider this portal much for it's iconography so much as its scale. Where we had three or four archivolts previously, we now have double that. There are large clusters of jamb figures, and the tympanum seems small in comparison. In the center, the trumeau statue is of the Beau Dieu, or beautiful god. He is much less severe than many of the Christ figures we have seen. The Beau Dieu is in much deeper relief, almost freestanding, and has much less stylized drapery, although the body still has little weight. He stands atop apocalyptic monsters, which symbolize his triumph over Satan and the Antichrist.

cloister

a covered walk in a convent, monastery, college, or cathedral, typically with a wall on one side and a colonnade open to a quadrangle on the other

triforium

a gallery or arcade above the arches of the nave, choir, and transepts of a church

tympanum

a vertical recessed triangular space forming the center of a pediment over a door or portal, typically decorated

side chapels/radiating chapels

tangentially from one of the bays or divisions of the apse. It is reached generally by a semicircular passageway, or ambulatory

Amiens Cathedral

Amiens is our high gothic example, and the last Cathedral we will look at in France. It is 144 feet high. The width is also larger than Chartres, but it still maintains a higher height to width ratio. It too was built on the site of a burned-down church. You can see the extensive use of flying buttresses here to support the massively tall structure. To the medieval mind, this was an expression of devotion to God. They felt that by lifting the church up, ever closer to the heavens, they could get closer to the divine.

repoussé

hammered into relief from the reverse side

Chapel of Henry VII, Westminster Abbey, England

Another chapel dedicated to the Virgin Mary. Fan vaulting gone wild. This chapel even has protruding "stalactites" of decorative vaulting. Entirely decorative vaulting. Actual vault is a barrel vault, and it is not focused as much on height as they were in france. Instead, this is the "Tudor (or Perpendicular) Style", which is the final phase of English Gothic. Think of architecture as a language- it is similar all over Europe in this case, but each area has its own vernacular style. In England, our emphasis is on surface textures, decoration, and the fanciful.

St. Lazare, Autun Tympanum- Last Judgment

As we saw at Moissac, there is a scene of Christ in Majesty, this time at the Last Judgment. On the right (Christ's Left) are the damned, and on the left(Christ's Right) are the saved. Christ is surrounded, once again, by the attributes of the Four Evangelists. This sculpture has suffered extensive damage, as is visible in the face of Christ and other figures. Christ is presented with palms upturned, mirroring a scale. He sits in his mandala, and below him are the souls waiting to be judged. His throne is the city of heaven, indicated by the arches Here the saved are in heaven, which is represented like a city. Along the bottom you can see an angel playing with children, and all souls, lost or saved, are represented nude. That is how we can distinguish a soul from other elements in the sculpture. Saved souls clinging to the angels. Here we see souls being weighed. At the top is St. Peter, who is said to guard the gates of heaven, attempting to save any last souls. There is a battle between St. Michael and a demon, who is trying to tip the scales. Literal weighing of souls: St. Michael attempts to push the scale up, while the devil/demons, attempt to pull it down and claim the soul for hell. Note the distorted and grotesque features of the demon. Damned either being tortured or souls being pulled up to be weighed. Either way, an unpleasant scene. Gislebertus is our artist, and one of the first signed sculptural works of the middle ages.

Lady Chapel, Ely Cathedral

Called the Lady Chapel because it is dedicated to the Virgin mary. This is what is called fan vaulting, and it is a feature of the late gothic. We call, specifically, this kind of extremely decorated architecture "Decorated Gothic" because of its prominent use of architecture as decoration. Imagine, if you will, that each of those niches on the bottom row had statues in them, and the windows were of colored, painted glass instead of plain glass. This chapel was stripped of its decoration during the Protestant Reformation, as were many churches in England and Germany. Little faces in the intersections of the fan vaults, and some surviving painting, which allows us to infer that the entire surface was probably decorated. Close up of decorations, you can see the only surviving original glass here.

Ruler Portrait, Otto III

Carolingian and Ottonian are both simultaneously styles or periods of art and dynasties. However, Romanesque and Gothic are merely styles/periods of art and architecture, not dynasties. Ottonian is, like Carolingian, named after it's most famous monarch, Otto III. Here he is enthroned underneath a baldachin, in between representatives of the Church (left) and the State (right). This symbolizes his power as a Christian emperor. The Ottonian empire encompassed the lands that now are Germany, Switzerland, northern and central Italy, but not the vast French territories that Charlemagne had held. Hierarchy of scale Recalls in some ways Justinian's portrait in San Vitale. Recalls in some ways Justinian's portrait in San Vitale. Positioning of the crowned Otto III in between representatives of Church and State mirrors Justinian's position between his soldiers and repesentatives of the Byzantine church General flatness Union of religious and political power that we've been talking about with Byzantine emperors and Charlemagne continues with the Ottonians, but they will be some of the last rulers to really hold it on this kind of a scale

Chartres Cathedral, Royal Portal

Chartres is a perfect example of many aspects of Gothic art and architecture. This is the so-called Royal portal because it uses a theme of Kingship throughout its iconography. Also, as usual, the use of threes reinforces the doctrine of the trinity- it is also referential of the Roman Triumphal arch, which is the way you would enter a city. To medieval Christians, each Cathedral was like entering the Holy City of Jerusalem. This portal has three different iconographic programs which form a synthesis. On the right, we have scenes from Christ's nativity, with the Virgin and Child enthroned on the tympanum. On the left, we have the Ascention of Christ flanked with scenes from his earthly life. Center, we have the familiar Christ in Majesty, and around him are Old Testament Kings and Queens.

Chartres Cathedral

Chartres is our best preserved entirely Gothic example. It was, like many churches, burnt to the ground and then rebuilt. Cathedrals were the driving force of French medieval economies. They are the seat of a Bishop in a city, and thusly were often very finely appointed. Cities competed with each other to build the most fabulous Cathedral, and building projects could take anywhere from eight to ten years to thirty or more, due to the immense scale. This created many jobs, and when they were complete, like Romanesque cathedrals, they were popular sites for visitors, creating increased economic activity in the cities they were in. In addition, they were centers of civic and religious life. The gothic tympanum at Chartres represents the same theme as the Romanesque on at St. Lazare, the typical second coming/judgment day theme from the apocalypse. Yet the Gothic example is much more simplified and easy to read. It is also slightly higher relief than its Romanesque counterpart. The figures are larger and fewer, enabling a much clearer message. These are our oldest surviving examples of Early Gothic sculptural style, and they are examples that are often used to illustrate Gothic sculpture. They are frontal, and stiff, resembling columns or candlesticks. They are slightly individualized in their faces, but seem to carry no weight underneath their patterned drapery. However, compared with the Romanesque example on the right, they are much more independent from their architectural setting- they protrude and project. They are also much less twisted and stylized. This is the interior of Chartres facing the Westwork, or the entrance we just looked at. Again we see the elements of Gothic architecture familiar from St. Denis, the compound piers, pointed arches, and large number of stained glass windows. The chairs, which are not original, give you a sense of the massiveness of the space. Here we have a view of the altar, from the crossing. At Chartres we have even taller windows and walls, and even lighter forms in the architecture. Chartres is very tall, an astounding 120 feet, and only 45 feet wide. Hence, the narrow feeling contributes to the height. In comparison, the dome of Hagia Sophia is 180 ft.

Cologne Cathedral, Germany

Cologne cathedral is our one German cathedral we will consider, and it is a beauty. Like many late Gothic cathedrals, it took hundreds of years to really complete. This is for several reasons: 1. as general instability occurred during wars (particularly ones related to the reformation here) sometimes plans were forfeited or lost 2. the style fell out of favor as the renaissance began So, Cologne Cathedral originally stood without a nave until the 1800s. However, like at Saint-Denis, its apse-end, the chevet, was a great example of Gothic style. When it was finished, the original plans were found and followed accordingly. This is the chevet of cologne cathedral. It reaches 150 feet, and is a great example of the French and German tendency to "race towards the sky." It does not, however, contain its original glass. The glass of the cathedral was blown out by bombings during WWII, but once the glass was gone, the stone structure, as high and light as it is, stood strong. Nave You can see here that the wall is almost entirely lighted, with both the elongated clerestory and the lighted triforium. There is very little wall space that doesn't contain windows. We call this style the Rayonnant Gothic- it is typified by the extensive use of windows, the sense of weightlessness, and extreme verticality.

decorative gothic

English Gothic

Norman architecture

English Romanesque

Palatine Chapel of Charlemagne

Enlarged during the later middle ages. Charlemagne's personal chapel. Charlemagne's burial site. Today the original chapel has been incorporated into Aachen (ak-ken) Cathedral.

Ebbo Gospel; St. Luke

Four evangelists commonly represented in manuscripts as they are given credit for writing the New Testament, which lays the foundation of Christ's teachings. Luke is seen here writing, and his attribute, the winged bull, is in the top right. Strange positioning of his "desk"- struggles with perspective.

St. Sernin, Toulouse

France 1070-1120 A great example of one of these churches made to accommodate pilgrims along the way is Saint-Sernin. It is extremely large, much larger than many of the monuments we've seen previously, excepting Hagia Sophia and the basilica of Constantine. This is why we call the architecture of this period Romanesque, because the buildings were on a grand scale, and had very thick walls- a very solid look. The reason for the massiveness of the church is the problem of accommodating both the regular congregation of the town and the droves of pilgrims that came through. To this end, we see some new developments in church architecture. As you can see here, we have a very large space surmounted by stone vaulting. This was another challenge for Romanesque architects. Fires had destroyed many churches as various tribes invaded and attacked towns. The timber roofs were very very easy to destroy. So the Romanesque architects began working toward all-stone architecture. The problem is that stone is much heavier than timber- so the walls of the structures were extremely thick and massive and couldn't be pierced with too many windows or the building might fail. So Romanesque churches, in their time of building, were inherently dark. We also see the space broken up into a series of repeated bays, versus before when the nave was a long hall. The use of the repeated arches gives us this sense of repetition, which is visually pleasing. This is a close up of the apsidial end with the radiating chapels. In the exterior view you can see how they are a series of mini-apses. In the interior view we can observe the ambulatory that allows access behind the central altar to these chapels. It was a genius solution to facilitate the movement of people in the space. With this problem solved, the next thing the medieval church architect will tackle is enabling the addition of a clerestory in the heavy vaulted ceiling.

Carolingian Equestrian Portrait Sculpture

France, 9th cent. Height: 9" Here we see an equestrian statue, presumably of Charlemagne, but possibly of his grandson. Either way, it is an impressive sculpture. It is bronze, and was found in a Cathedral in Metz, Germany. Now it resides in the Louvre. Interestingly enough, this statue is actually comprised of three parts: the horse, which dates to earlier times than the other two parts; the body of the rider; and the head. We think the horse was likely reused from a Roman monument. The head and body of the figure are in sharp contrast with the naturalism of the horse. The face is flat, and has the same archaic, almond shaped eyes we saw in the Colossus of Constantine and other late Antique art. The mustache and hair are suggested, and the figure is squat, with very little neck and a short torso. He wears a crown and holds an orb (and would have had a scepter, this is now lost) which indicates that he is royalty.

Ebbo Gospel; St. Mark

Wrestling with issues of perspective- bodies aren't really rendered correctly, but there is an attempt to achieve naturalism here during Carolingian period. The winged lion is in the upper corner All four evangelists are seen writing Must have been a powerful symbol for the scribes and illuminators creating these manuscripts- in a way following in the footsteps of the Evangelists

June The Tres Riches Heures du Duc de Berry

Here we can see the delicate and high vaulting of the Sainte-Chapelle, and next to it, a page from the most famous Gothic manuscript, the Tres Riches Heures du Duc de Berry. On the page, you can see Sainte-Chapelle depicted. The month depicted here is June, and it was common for books like these to have not only the bible and religious illustrations but also secular illustrations that depicted the labors of the month for the peasantry. It was very common to show images of peasants either laboring or being lazy/crude in art that was made for the aristocracy.

Ebbo Gospel, St. John

Interestingly enough, St. John is depicted writing on a scroll instead of a codex. He also has his attribute, the eagle, this time in the top left. He is often set apart because he wrote of Christ's ascent into heaven- hence the bird as a symbol for St. John. Could explain why he looks a different direction.

Kilpeck Church portal

It is said that the stonemason(s) responsible for this door traveled to mainland Europe to complete the Way of St. James. Thus, there is an exchange between the Romanesque style of France and Germany and the provincial style of England, Ireland, and Wales. Also important is the fact that a Duke from Normandy, William the Conqueror, Conquered England in 1066. This is the reason why the English and French language have so many cognates, and facilitated the adoption of Romanesque styles in Britain. British Romanesque is commonly referred to as Norman Architecture. Considering this portal, the style is clearly a scaled-down version of the portals we've seen in France. Similarities: shape, use of archivolts, tympanum, wooden door. Differences: Kilpeck uses "barbaric" motifs- vegetation and beasts, no direct reference to Christ. S-L contains the typical Christ in Majesty. Much more extensive. Stone is local to each region. S-L double door versus Kilpeck single. However, Kilpeck's portal makes indirect reference to religious themes: in the tympanum is the tree of life, and above it in the center is an angel. This is the haggard man and the equus dei. The alternation of beasts and religious imagery with grotesques may have been intended to be apotropaic.

perpendicular/Tudor gothic

Late English Gothic style

Palatine Chapel of Charlemagne (Interior)

Like in Byzantine examples, the Emperor would sit up in the gallery to watch the liturgy. He was actually visible to people on the exterior through a window during this time. This building is sixteen-sided, with an octagonal center and a clerestory in the highest, top level. Like ancient roman architecture, it is very solid and heavy along the bottom, and decreases in weight as it goes up. Three levels, again using threes to reference Trinity Very similar, yet more elaborate, plan to San Vitale in Ravenna. Octagonal, central plan. Charlemagne was known to have traveled to Ravenna and to have even requested "mosaic, marbles, and other materials from floors and walls" Here we see the comparison, but San Vitale is a little less heavy toward the bottom. This is because Charlemagne's architect, Odo of Metz, intentionally used both Byzantine and Roman forms in the building of the Chapel. Look at the arches on the bottom level, and their sense of heaviness, solidity, how squat they are compared to the next level. Like many buildings of this time, it contains lots of marble and likely had mosaic or fresco. Rich marble and banded columns show the prowess of the builders and the richness of the Holy Roman Emperor. Here, we see a replacement mosaic (18th Century) in the dome, but we can infer that there would have been decoration that is similar in the time of Charlemagne. The octagonal plan and dome are also symbolic- square in a circle, god's eternity (circle) and secular world (square). Number eight symbolic in Christianity for a new beginning (no 8th day of the week, it is the first of a new one), Jesus appeared again after the resurrection after 8 days, numerous instances in the bible. Either way- Charlemagne was crowned King just before 800!

Codex Aureus of St. Emmeram

Made for Charles the Bald, the Emperor Lavishly decorated Gems adorning cover, and a repoussé relief of Christ in Majesty Inscription on the codex he holds says "I am the way, and the truth, and the life. No man cometh to the Father, but by me"- probably one of the most famous bible verses today Idea behind the piece is similar to the idea behind a lavish church- glorification of God via doing something extravagant in the name of the religion, also, glorification of the self by possessing such a rich object. Also, the gemstones themselves all have significance and symbolism. Medieval peoples were very superstitious. Adoration of the lamb---The idea that the lamb is representative of Christ as it was a sacrificial and benign animal. Obedience to God. References story of Issac. We see that the lamb even has a halo like Christ, because it is literally a stand in image for Christ here. Popular scene, we will see it again, crowds adoring Christ as Lamb of God The emperor is painted enthroned in his own book- we see the hierarchy of scale at work here He is 2x the size of everyone else in the frame, and sits in a splendid throne. Imagine that this was illuminated with gold- which the slide doesn't capture well. Purple background- indicating the imperial nature of the manuscript. Angels above him- symbolize the mixing of religion and politics. Gives rulers supreme power- why modern societies shy away from this often.

Monastery of Saint John at Müstair, Switzerland Flight Into Egypt

Mary, Jesus, Joseph go to Egypt because Herod is going to kill infants (because the Magi ask to find the newborn King of the Jewish people and it makes him paranoid). Scene from the story— Again we have muted color, and little to no detail in the faces. Everything is very flat. City is implied behind them. Imperial sites would have had slightly better artists, but in general painting in the middle ages is very flat, very strange.

Monastic Church at Corvey

Monasteries were on the rise because Charlemagne saw the need for a standardized and well-educated Clergy. Saw the potential of Clergy to teach the people, and to help solidify power by standardizing religious practice (therefore, rules!) in what had previously been a very diverse area, now united. Once more we see heaviness on the base and lightness toward the top of the building. Fortification- anything and everything was under attack during the Middle Ages, lots of roving hoards, so even churches were made to be easily defendable. Charlemagne promoted the expansion of the Benedictine monastic order throughout Europe. St. Benedict of Nursia (480-543)- patron saint of Europe, students Wrote the "rule of st. benedict" - a moderate and popular set of standards for monks living under an abbot Never actually founded an Order- that happened after him, but they followed his Rule. Rule of St. Benedict: spirit of balance, moderation and reasonableness. "Ora et Labora" = Pray and Work This would be the church that this particular monastic community in Corvey worshipped at Simple exterior Heavy toward bottom, lighter toward top Repetition of threes Pointed spires Influential design to this day Basilican plan for the most part- long longitudinal space

Lindau Gospel

Morgan Library and Museum Triumphant christ- bears no weight of his crucifixion Mary and john at the bottom mourning Jewel encrusted and repoussé From revelations: twelve gates were tweleve pearls, streets made of gold Perhaps this was once a front cover of another codex Intricate tooling, well made Rich, rich objects A time when books were only for an elite few Example of the inside- greatly decorated, this is the first page of a gospel Would have regular writing after

Rochester Castle Keep

Norman tower-keep of ragstone was built about 1127 by William of Corbeil. Consisting of three floors above a basement, it still stands 113 feet high. Attached is a tall protruding fore building, with its own set of defenses to pass through before the keep itself could be entered at first floor level. In 1215, garrisoned by rebel barons, the castle was put under siege by King John. Once he penetrated the outer wall, John's armies used the fat of pigs to fire a mine under the keep, destroying its southern corner. Despite this breach, the defenders held on for two months until they were starved out. The pattern along the top of the structure is called "crenulation" - it makes the keep easy to defend by creating spaces to fire arrows (or later, other weapons) from. Also defensive is the extreme solidity of the walls, and the lack of large doors or windows on the ground level. The larger and more numerous windows on the top allow for a 360 degree view of any approaching threat. Looking at the interior, you can see that the soldiers would have occupied the stone space that remains- the outer areas where they could see and fire weapons from if necessary. The inner-area, now rotted away, would have held important people (such as the family who owned the castle, specifically the women and children.) If you watch Game of Thrones, you may remember a scene where some royalty in King's Landing inhabited such a space during a battle. Typically Romanesque is the large amount of rounded arches and the extremely heavy stone walls. You can see on the left and right walls square indents- those would have held wooden beams which then would have been covered with wooden flooring. We essentially only have the shell of the keep left today.

Durham Cathedral 1133

Not everything in England was small. Durham Cathedral is an exceedingly large and impressive monument of Romanesque (and Gothic) church design. For us, it is a transitional building which will help introduce the principles of Gothic church design. The interior of Durham gives us a great example of late Norman-Romanesque design which will influence future Gothic builders in France. Note the ribbed vaulting versus the barrel vaulting we'd seen before! This, combined with the pointed arch, makes this building proto-Gothic or pre-Gothic. Typically Romanesque are the large, imposing columns and repeated use of the round arch. The ribbed vault allowed for the addition of the clerestory (letting light in- solving the problem of the darkness created by the need to support such massive structures) by creating a complex load-bearing system. Part of this system is a new mini-level called a triforium. Triforium: a shallow arched gallery within the thickness of inner wall, which stands above the nave of a church or cathedral. It may occur at the level of the clerestory windows, or it may be located as a separate level below the clerestory

St. Pierre, Moissac Abbot Durand

On the piers are various saints and persons important to the Monastery. He was a bishop sent to get the church rebuilt and in shape after it had been ravaged by fire in 1030. Thus he was instrumental in the building of the structure standing today. We can observe typically medieval qualities here, the squat, stubby figure, the expressionless face, and the general stiffness and flatness of medieval sculpture. It has a pleasing quality here as it integrates architecture and sculpture. Remember, these were deliberate choices. Almost like painting with stone.

Ebbo Gospel, St. Matthew

One of the results of this focus on Monastic life is the production of a great number of manuscripts This is the most famous image from Carolingian times St. Matthew energetically composing his gospel Stylus and inkhorn Allows us to see what they did/how they did it These frenzied, crazy lines are distinct Winged man in top right corner

Rottgen Pieta

Pietà: Virgin Mary holding dead Christ This is a common sculpture in the lexicon of Germany during the middle ages. A very human representation where Mary is actually grieving, and Christ looks very gruesome. He is emaciated, and the weight of his dead body is evident. Blood is painted on his head from his crown of thorns, and blood runs down his arm and bursts out of the wounds in his side and his foot. This is the German tendency for texture, gore, and mysticism. This image was meant to bring the moment alive for the viewer. These are the kind of images that would be on an altar in a church such as Cologne Cathedral or any other religious building. Idea that "god suffered so badly, he understands my suffering" - images also used in chapels in hospitals.

Bayeux Tapestry

The Bayeux Tapestry is actually an embroidery. It contains 626 human figures, 731 animals, 376 boats, 70 buildings and trees. Most medieval embroidery was done by women, so this is one of our first pieces of art in this class made with female hands. We think the tapestry was commissioned by Bishop Odo, who was the brother of William the Conqueror. It depicts, as we heard, the conquest in 1066 of Britain by William, Duke of Normandy. In this scene, we see a depiction of what we believe to be Halley's comet. In medieval times, this symbolized bad luck, and is why it is shown here. Underneath in the bottom frieze ghostly boats sail past, foreshadowing the coming of invaders. THESE MEN WONDER AT THE STAR In this scene, we see William's armies feasting upon arrival to Britain. On the right, we see Odo blessing the meal, and we can assume that William is the person in the center who is raised slightly above the others. A servant brings the men wine. On the left, we have common soldiers, who eat off of their shields. THEY HAVE PREPARED A MEAL. BISHOP BLESSES THE FOOD AND DRINK These Viking-styled boats recall the heritage of the Norman invaders (Norse (north) man norman). We see the soldiers, their horses, and for medieval work, a surprising amount of movement and interaction. Figures gesticulate. They lack a sense of individuality, however, and their proportions and positioning makes them look a bit like boneless noodle-men. HAS CROSSED THE SEA AND COME TO PEVENSEY Here Odo clashes with another Solider. He holds a club, and the cocking-back of his weapon gives a sense of movement, as do the galloping horses. The circles on the outfit of his enemy indicated that the soldiers wore chain mail armor, and the pointed hats with nose guards they wear give us an insight into the helmets worn by medieval warriors. HERE BISHOP ODO, HOLDING A MACE, URGES ON THE YOUNG MEN

Sainte-Chappelle, Paris, France

The Rayonnant Style is epitomized in the (relatively) small Holy Chapel or Sainte-Chapelle of King Louis IX of France. It is a part of his palace complex, and sites on the Ile de Cite in Paris. It is a literal reliquary- the chapel itself is adorned richly and is the most beautiful piece of Gothic architecture. Built to house the relics of the Passion of Christ- including what was believed to be the original Crown of Thorns. The King himself carried the relics to the chapel- barefoot and dressed as a penitent. This is the lower floor, where everyone at Louis IX's court would be invited to worship. The blue and gold colors of the French monarchy dominate, and this chapel was not just an expression of piety but a potent symbol of royal power. It is even decorated with many small gold fleur de lys. At the time of its building, the Holy Roman Empire was in complete disarray, and Constantinople was weak. Louis IX meant to position himself as the most powerful and pious king in all of Christendom. This lower chamber is darker, and refers to the Earthly city. This is the upper-chamber or upper-chapel. This area would be where Louis IX would worship. It has no transept, so the walls run straight up, uninterrupted, towards the heavens. The walls are almost entirely made of glass, with very little interruption. Like cathedrals, it has a rose window. We don't have time to consider them in this class, but the stained glass windows, which are original, have scenes from the life of Christ, the life of the relics, kings/queens from the bible, and even the translation of the relics by Louis IX to the Sainte-Chapelle. This puts emphasis on his piety and his position amongst Kings. He was canonized in 1297, and is actually a saint. This image shows us the intense light effects when candlelight is combined with the natural light from the windows. Truly a heavenly-looking image. The walls of the upper-level of Sainte-Chapelle are over ¾ stained glass. This is the jewel of the Rayonnant "Radiant" style. Let's compare the Rayonnant style with the earlier Byzantine styles- In the French Gothic/German Gothic rayonnant, the light is filtered in through stained glass, to permeate the space. In Byzantine style, the light is let in unrestricted through windows, then reflected off of the gold tesserae of mosaic- creating a bright, reflective space. In the Gothic style, it is more evenly lit, and the walls themselves seem to glow, rather than blaze.

Bernward's Column

The column is 3.79 meters high up to the shaft and weighs 7 tons. It illustrates the Life of Christ, mostly his miracles and public work. There was once a cross atop the monument, but it was removed during the Protestant Reformation and melted down to make a cannon. Pictured here is when he met the woman at the well. Iconographically it is pretty typical, and the figures are the same simple medieval style we are used to. Modeled after ancient Roman victory columns Instead of showing military victories of Emperor, it shows the religious miracles and preaching of Christ Triumph of Christianity over Paganism

Ely Cathedral, England Exterior 1083 Interior 1375

The exterior of Ely Cathedral doesn't concern us much today because it is Romanesque, but the interior features extensive Gothic decoration. Many of the buildings we have looked at are truly hybrids in style like this one.

Monastery of Saint John at Müstair, Switzerland Charlemagne Sculpture

The monumental statue of Charlemagne in the front of the church dates from before 1165 - the time Charlemagne was declared a saint under pressure from the Holy Roman Emperor. (His sainthood is not universally accepted in the Roman Catholic Church) This stucco statue was originally painted and is considered amongst the oldest monumental statues of Charlemagne. Flat, squat body and unrealistic drapery Serious, not too realistic face Holds orb and cross in one hand, scepter in the other- symbolizing his role as an earthly ruler and a religiously appointed ruler (crowned by Pope- religiously affiliated) This sculpture resembles the equestrian portrait and speaks to the continuing legacy of Charlemagne in the territories of Western Europe.

St. Michael's Church, Hildesheim

The most important surviving church of the Ottonian period is St. Michael's Church in Hildesheim. It has actually been restored since WWII, as it was destroyed. However, it was restored faithfully and follows the original plan closely. You can see the elements which are new versus restored by looking closely at the exterior. Commissioned by Bishop Bernward, who had traveled to Rome and studied different ancient and contemporaneous architecture and decoration.

North Rose Window, Chartres

The most splendid of the Rose windows at Chartres, the North rose window is light a painting in light. As the time of day and conditions inside the church changed, so would this image. In the very center, the Virgin and Child can be observed. It is surrounded by twelve circles, referencing the 12 apostles. The small windows between the Rose and lancets are coats of arms of the French kings. The center lancet has the infant virgin mary with her mother St. Anne. Old testament kings occupy the other lancets.

St. Pierre, Moissac Cloister

This is the cloister of the Abbey. It is richly decorated with sculptures on the piers and carved column capitals. Monks would sit here and read, do work. As we have seen before, the use of vegetal motifs continues to be important in religious architecture to symbolize paradise. These vegetation motifs were not the only thing carved into capitals, however. Here we see a gruesome scene from the Old Testament. It is presented in continuous narrative, meant to be read left to right. On the left, Salome dances before Herod and demands the head of John the Baptist, and on the right, the feast of Herod is represented, which is where she presents the severed head.

Otto I presenting the Cathedral of Magdeburg

These kinds of ivory carvings were popular in Ottonian Europe. Here we see Otto I presenting Magdeburg Cathedral to Christ. St. Peter looks on (he is holding a key, first Pope) and Christ turns to Otto I to accept the offering. Powerful religious and political image Emperor literally is being acknowledged by Christ, who sits in majesty The first pope looks on, to reinforce the connection between the Holy Roman Empire and the Papacy

St. Lazare, Autun

This church holds the relics of Lazarus.

Kilpeck Church 1140

This church is a small provincial church in England. It's design and plan use vernacular Saxon architecture. It is small and unassuming on the interior and exterior, but is the site of interesting Romanesque grotesques- which were exceedingly popular in what is the modern-day United Kingdom.

St. Denis Basilica 1135

This church is the burial place of the French Kings. It was also used for the coronation of Queens. The church which stood here before this one was a Carolingian church, and was not large enough to accommodate the amount of people who visited it. Being the bural place of French royalty, combined with the fact that it was the church containing the relics of the first Bishop of Paris, Saint Denis, who is also the patron saint of France, made it a popular pilgrimage destination. It was renovated by a particularly well-connected and adept Abbot, Abbot Suger- who devoted much of his life to the renovation. Nave Long, high nave with pointed arches, each section divided for a feeling of repetition and rhythm, Ribbed vaulting as we saw at Durham Cathedral. Clerestory lights the section of the ribbed vaults, allowing for impressive illumination, and the vault is without decoration. Why did ribbed vaults allow us more light than the barrel vault? Simply put, they exert force downward, instead of downward and out to the side. Compound piers- see the groups of columns which melt into each other? These are the extensions of the support of the ribbed vault. Apes The writings Abbot Suger read also spoke of the importance of mathematical ratios in architecture- particularly ones adapted from music, which is why we say that these buildings have rhythm to them. The double lancet windows (which are pointed arches in themselves) in the triforium add light, then a brilliant row of windows above it also serve to flood the space with colored light- predominantly blue and red, in contrast to the gold light which was often employed by the Byzantines. There are even windows on the ground level, creating a very well-lit space. Note that the amount of space devoted to glass increases as you move your eye upwards. Tombs Many, many members of French royalty buried here. This church would usher in the Gothic style in France because of its association with royalty.

Man of Sorrows The Tres Riches Heures du Duc de Berry

This is a depiction of the suffering of Christ, which was a popular representation in Europe. Here we see extensive use of blood and gore, and the figure of Christ is so pale that he looks to be deceased. Curiously, as in the other pictures, contemporaneous French Romanesque and Gothic architecture is in the background.

The Temptation of Adam and Eve, Bishop Bernward's Doors, Bronze, 1015

This is a scene of the temptation of Adam and Eve. Eve is tempting Adam to eat from the tree of knowledge. Note that the central tree resembles a crucifix. Typically medieval--- cursory background, stubby, generic figures Still an amazing artistic feat, especially for the time.

Kilpeck Church grotesques

This is one of the most famous grotesques in the world. It is called a sheela-na-gig, and is an image of a female exhibitionist. There is some debate about the function of these figures, and why they would be on a church. As with the other grotesques, the best theory is that the parishioners thought they could ward off evil, that they were apotropaic. Creating something so ugly it could scare demons or the devil. Some also believe exhibitionist figures were used to teach that promiscuous sexuality was inappropriate- essentially to instill values/shame into the public. Finally, some claim they are fertility figures, although outside of a few which were deemed "lucky" that people visited and touched/kissed (as if they were relics), this theory is the least possible. Here, this sheela-na-gig is seen next to a cat, which reinforces it's female nature- cats have generally been associated with women, particularly non-virtuous women.

St. Pierre, Moissac Tympanum - Last Judgment

This is the tympanum, or semi-circular space above the door. Tympanum (plural, tympana) is the semi-circular or triangular decorative wall surface over an entrance, bounded by a lintel and arch. It often contains sculpture or other imagery or ornaments. There are commonly scenes of the Last Judgment, Second Coming, or something from Revelations included in these tympana to remind the faithful of the reason they are attending church. Here are depicted Christ in Glory with seraphim (angels) and the symbols of the Evangelists. Below and beside him in rows are the twenty-four elders, crowned, holding chalices and musical instruments, praising him with song. The clouds of Heaven or the rippling "sea of glass" (Revelations 4: 6) provides a boundary line. Observe the extremely elongated proportions of these angels, and the odd, cross-legged stance of St. Michael. Observed again is the hierarchy of scale in representation. This is a blend of previous styles- Carolingian, Ottonian, and even influence from Byzantium.

Bishop Bernward's Doors, Hildesheim

Unique for the middle ages, at St. Michael's we have monumental bronze doors. Not repoussé- cast Bronze as they did in antiquity Old Testament on left side, New Testament on right side We think that while Bishop Bernward was in Rome he saw the splendid wooden doors of Santa Sabina and wanted to do something even better for his own church These follow a similar pattern but have a simpler design Here we see the comparison of themes with the two panels of the door. This is important, as everything was intentional. So, pairing Adam and Eve working (Eve, in this scene, is nursing Cain- the first human born, who would murder the first human to die, Abel) with the Adoration of the Magi, where the first sinless child (Christ) was born, reinforces the idea that Christ is the new Adam and Mary is the new Eve

St. Michael's Church, Hildesheim (interior)

Use of forms we are familiar with in an unfamiliar way: alternating double columns and piers massive quality (reinforced by piers) formal energy from variety- unlike early Christian basilicas, we have a lot of different architectural forms in use at once: towers, round arches, sloping roofs, cylindrical (columns) and cubic (piers) forms Banded marble of alternating colors recalls the St. Michael's embraces the longitudinal quality of the basilican plan, versus incorporating any centrally planned elements Familiar use of the roman rounded arch and banded marble for decoration Underneath the arches we can observe interlace patterns- you may have heard them called "Celtic tribals" or something to that effect. The historical term for these patterns is "interlace". They are decoration that comes from Viking and "barbarian" peoples- i.e. the tribes that eventually brought Rome to its downfall. Charlemagne, Otto III are descendants of these non-Romans. Here we see a merging of vernacular (local) modes of design with Roman design.

Monastery of Saint John at Müstair, Switzerland Apse (Christ)

Use of muted tones Chorus of angels behind Familiar elements: codex, halo Christ sits inside mandorla Assumption into heaven- scores of Angels surround Attributes of the four evangelists surround Matthew - Angel Mark - Lion Luke -Ox John - Eagle

Gargoyle, Amiens

What are these fantastic monsters doing in the cloisters before the eyes of the brothers as they read? What is the meaning of these unclean monkeys, these strange savage lions, and monsters? To what purpose are here placed these creatures, half beast, half man, or these spotted tigers? I see several bodies with one head and several heads with one body. Here is a quadruped with a serpent's head, there a fish with a quadruped's head, then again an animal half horse, half goat... Surely if we do not blush for such absurdities, we should at least regret what we have spent on them." St. Bernard of Clairvaux, who wished to do away with pretty much all decoration. Gargoyles were essentially gutters. That is what the word means in French, gullet. They could be nay number of different fantastic beasts. On Gothic churches, they diverted rainwaters to prevent structural damage. They are the most common Gothic grotesques.

Head Reliquary of St. Alexander

When looking at Romanesque art, it is important to note that it is heavily influenced by the religious and political situation in Europe at the time. This is our first pan-European style of architecture, which will eventually be overtaken by the Gothic style. Here we have a reliquary, and next to it a picture of the "Way of St. James" or the popular pilgrimage routes to Santiago de Compostela, a church in Spain which holds the bones of St. John the Apostle. Starting during Carolingian times, there was a robust trade in relics. Relics are pieces of a saint or religious figure's body or possessions. Sometimes they are fragments of an object that plays a role in a religious story, such as the "true cross" which Christ was crucified on. They were commonly kept in boxes such as this, and pilgrims which came to the sites would touch, kiss, rub, or get close to the container in some way. Relics were thought to provide healing, and to encourage the saint in question to intercede on your behalf.

Crossing, Ely Cathedral

While they were working on the lady chapel, the original Romanesque (Norman) vault collapsed at the crossing. So, because this was the period of decorated Gothic in England, they subjugated structural integrity for decoration--- wood is light and easy to support with stone walls, but is susceptible to fire. This is a wooden crossing and lantern, intricately decorated with paint. You can see the use of windows around the edge of the lantern to give it a floating effect, while the stained glass windows in the clerestory light the star-shape. Unique piece of Gothic architecture. Another view of lantern, and you can see the elaborately decorated aisles on each side. England = highly decorated.

Monastery of Saint John at Müstair, Switzerland

While this church may look unassuming on the exterior, its interior houses some great treasures from the era of Charlemagne- murals and sculptures. Founded around 780. Benedictine nuns- convent Still in use! According to legend, Charlemagne personally ordered the foundation of a Benedictine monastery in Müstair around 775 AD to give thanks for his safe passage of the Alps en route from his coronation as King of the Lombards (and for strategic reasons to protect the entrance to the Müstair valley). The dates match the time of the original timbers used in the construction and the foundation-- legend may thus well be true, although the initiative may also have come from local bishop. Lots of different frescoes here in the apse. Gives us a chance to see a few things— First of all, what a church that was not used for imperial purposes looked like inside Secondly, the development of medieval painting Carolingian and later Romanesque decoration Horror vacui, almost no blank space