AT 105 EXAM 3

Bayeux Embroidery William (part 2)c

Measuring twenty inches high and almost 230 feet in length, the Bayeux Tapestry commemorates a struggle for the throne of England between William, the Duke of Normandy, and Harold, the Earl of Wessex (Normandy is a region in northern France). The year was 1066—William invaded and successfully conquered England, becoming the first Norman King of England (he was also known as William the Conqueror). The Bayeux Tapestry consists of seventy-five scenes with Latin inscriptions (tituli) depicting the events leading up to the Norman conquest and culminating in the Battle of Hastings in 1066. The textile's end is now missing, but it most probably showed the coronation of William as King of England. Falconer (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Falconer (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Falconer (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Although it is called the Bayeux Tapestry, this commemorative work is not a true tapestry as the images are not woven into the cloth; instead, the imagery and inscriptions are embroidered using wool yarn sewed onto linen cloth. The tapestry is sometimes viewed as a type of chronicle. However, the inclusion of episodes that do not relate to the historic events of the Norman Conquest complicate this categorization. Nevertheless, it presents a rich representation of a particular historic moment as well as providing an important visual source for eleventh-century textiles that have not survived into the twenty-first century. Normans with horses on boats, crossing to England, in preparation for battle. Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Normans with horses on boats, crossing to England, in preparation for battle. Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Normans with horses on boats, crossing to England, in preparation for battle (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The Bayeux Tapestry was probably made in Canterbury around 1070. Because the tapestry was made within a generation of the Norman defeat of the Anglo-Saxons, it is considered to be a somewhat accurate representation of events. Based on a few key pieces of evidence, art historians believe the patron was Odo, Bishop of Bayeux. Odo was the half-brother of William, Duke of Normandy. Furthermore, the tapestry favorably depicts the Normans in the events leading up to the battle of Hastings, thus presenting a Norman point of view. Most importantly, Odo appears in several scenes in the tapestry with the inscription ODO EPISCOPUS (abbreviated "EPS" in the image below), although he is only mentioned briefly in textual sources. By the late Middle Ages, the tapestry was displayed at Bayeux Cathedral, which was built by Odo and dedicated in 1077, but its size and secular subject matter suggest that it may have been intended to be a secular hanging, perhaps in Odo's hall. The inscription above Odo (partially cut off in the reproduction above) reads, "Here, Odo the Bishop, with a staff (baculum) encourages the young warriors," Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The inscription above Odo (partially cut off in the reproduction above) reads, "Here, Odo the Bishop, with a staff (baculum) encourages the young warriors," Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The inscription (partially cut off in the reproduction above) above Odo reads, "Here, Odo the Bishop, with a staff (baculum) encourages the young warriors," Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) We do not know the identity of the artists who produced the tapestry. The high quality of the needlework suggests that Anglo-Saxon embroiderers produced the tapestry. At the time, Anglo-Saxon needlework was prized throughout Europe. This theory is supported by stylistic analysis of the depicted scenes, which draw from Anglo-Saxon drawing techniques. Many of the scenes are believed to have been adapted from images in manuscripts illuminated at Canterbury. The death of King Harold at the Battle of Hastings (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The death of King Harold at the Battle of Hastings (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The death of King Harold at the Battle of Hastings (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The artists skillfully organized the composition of the tapestry to lead the viewer's eye from one scene to the next and divided the compositional space into three horizontal zones. The main events of the story are contained within the larger middle zone. The upper and lower zones contain images of animals and people, scenes from Aesop's Fables, and scenes of husbandry and hunting. At times the images in the borders interact with and draw attention to key moments in the narrative (as in the image above of the battle). The seventy-five episodes depicted present a continuous narrative of the events leading up to the Battle of Hastings and the battle itself. A continuous narrative presents multiple scenes of a narrative within a single frame and draws from manuscript traditions such as the scroll form. The subject matter of the tapestry, however, has more in common with ancient monumental decoration such as Trajan's Column, which typically focused on mythic and historical references. Servants preparing food (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Servants preparing food (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Servants preparing food (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The embroiderers' attention to specific details provides important sources for scenes of eleventh-century life as well as objects that no longer survive. In one scene of the Normans' first meal after reaching the shores of England, we see dining practices. We also see examples of armor used in the period and battle preparations. To the left of the dining scene, servants prepare food over a fire and bake bread in an outdoor oven (above). Servants serve the food as the tapestry's assumed patron, Bishop Odo, blesses the meal (below). Normans first meal in England (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Normans first meal in England (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Normans first meal in England (detail), at the center is Bishop Odo, who gazes out as he offers a blessing over the cup in his hand. Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Immediately after dining, William and his half-brothers Odo and Robert meet for a war council. Preparations for battle flank both sides of the first meal episode. Here we see visual evidence of eleventh-century battle gear and the construction of a motte-and-bailey to protect the Normans' position. A motte-and-bailey is a fortification with a keep (tower) situated on a raised earthwork (motte), surrounded by an enclosed courtyard (bailey). Images of battle horns, shields, and arrows as crucial ammunition shed light on military provisions and tactics for the time period. Preparations for war, including the building of a motte-and-bailey (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Preparations for war, including the building of a motte-and-bailey (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Preparations for war, including the building of a motte-and-bailey (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) William's tactical use of cavalry is displayed in the "Cavalry" scene. The cavalry could advance quickly and easily retreat, which would scatter an opponent's defenses allowing the infantry to invade. It was a strong tactic that was flexible and intimidating. Although foot soldiers are included in the tapestry, the cavalry commands the scene, thus presenting the impression that the Normans were a cavalry-dominant army. Cavalry and foot soldiers in battle (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Cavalry and foot soldiers in battle (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Cavalry and foot soldiers in battle (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) In addition to depicting military tactics used in the Norman Conquest, the scene also provides visual evidence for eleventh-century battle gear. Cavalrymen are shown wearing conical steel helmets with a protective nose plate, mail shirts, and carrying shields and spears whereas the foot soldiers are seen carrying spears and axes. Representations of the cavalry show that the soldiers were armored but the horses were not. The brutality of war is evident in the battle scenes. Figures of mortally wounded men and horses are strewn along the tapestry's lower zone as well as within the main central zone. Wounded soldiers and horses (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Wounded soldiers and horses (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) Wounded soldiers and horses (detail), Bayeux Tapestry, c. 1070, embroidered wool on linen, 20 inches high (Bayeux Museum) The Bayeux Tapestry provides an excellent example of Anglo-Norman art. It serves as a medieval artifact that operates as art, chronicle, political propaganda, and visual evidence of eleventh-century mundane objects, all at a monumental scale. This astounding work continues to fascinate. Essay by Dr. Kristine Tanton

Central plan Mosque type was used for what?

Shrines

_____was used a lot in Islamic life

Textiles

What is the 3rd pillar of Islam?

The giving of alms; give generously to charity

Quran

The holy book of Islam

Interpret the integration of sculpture within Romanesque architecture

The implcations of placing sculpture on the exterior The purpose and themes that were emphasized Stories of human frailty and sanctity to appeal to the viewer4

The Church _____ the people groups and becomes very powerful.

Unifies

Fontenay Abbey

date-1139-1147 pried-Romanesque the most perfectly preserved example of an early Cistercian monastic compound. Note the absence of a clerestorey and the almost complete lack of sculptural decoration. The use of pointed arches nevertheless places Fontenay at the cutting edge of architectural innovation. It is very simlple and the quadrangle serves as the nucleus of the compound. The reason why it was plan is that the thougtht decoration was a waste of money distracted the monks and the people who came to pray.

Kufic chapter heading would be____

embellished to stand out

the red dots in the Kufic are marking ____

vowels

monasteries would collect relics for ___

worship

What dose Romanesque mean?

"in the Roman manner"

Mihrab

(Islam) a niche in the wall of a mosque that indicates the direction of Mecca

Four-Iwan Mosque type was used for what?

(parts center courtyard, Iwan, qibla, mihrab)

what dos Judaism, Islam, and Christianity have in common?

1. They all have a sacred text That is thought to be the word of God. 2.They worship though congressional gathering 3. all have Adam, Abraham, Moses, and Jesus.

Roughly ____years of the middle ages between the dissolution of the western Roman empire in the 5th century and Florentine Renaissance in the 15th century.

1000

The monastery of Cluny

1088- 1130 period-Romanesque a very powerful and influential place It is unique because it is independent from any lord. they only answer to the pope. where the money goes to the monastery stay in the monastery.

In the ___ century, the westen Roman empire came into conflict with several migratory groups who moved into Roman territory due to expanding population and in search of security and a higher standard of living found in the Roman empire

5th

Minaret

A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.

Apse

A recess, usually semicircular, in the wall of a building, commonly found at the east end of a church. A lot of times the most important relic was displayed in the Apse.

These Migratory people slowly converted to____

Christianity

Bowl with Kufic Border

Date- 11th or 12th century period style -- Islamic art Earthenware with slop, pigment, and lead glaze -painted white to look like porcelain -elongated script -'Knowledge: the beginning of it is bitter to taste, but the end is sweeter than honey'

Crucifix

Date- 1250-1270 artist- Coppo di Marcovaldo, (his name is recorded on the painting) it takes is que from some of the byzitean art. his body is not naturalistic, it is long and stretched out. The gold background to make us see these seans holy and setup from Christ. Italy Tempura and Gold on wood panel -Byzantine influence type=closed eyes, sagging body, bleeding -encourages viewer to respond w/ emotion and empathy "historated crucifix"-narrative of Passion flanks christ's body -monumental crosses weer usually mounted on choir screens separating the clergy in the sanctuary from the lay people in the nave

Lindisfarne Gospel: Beginning text page of the Gospel of Matthew

Date- 715-720 Period-Early Medieval Material-Illuminated manuscript, ink, pigments, and gold on vellum Location-Lindisfarne, Britain Page from the bible. Depicts Saint Luke, one of the evangelists. Function traditional symbol associated with Saint Luke is the calf; Greek identifying Luke; heavily bearded Luke gives weight to authority as an author; legs crossed holding a scroll and writing instrument Context frame, attempt at Roman depth, symbolism, nimbus Descriptive Terms Golden Haggadah, Bahrum Gur Fights the Karg, Folio from the Qur'an Cross-Culture The footstool huvers in space

Book of Kells, (Chi Rho Iota page)

Date- 8th-9th century Period- Early medieval This page is named after letters found in the page the letters are the greek enisholes of Christ. Medium? = Oxgall inks + [pigments on vellum, 1ft x 1ft What? 1. Greek letters XPI abbreviate word Christi 2. Ornamental celebration of Christ's initial mention in text 3. Book of Kells = contains 4 biblical accounts of Christ's life 4. Ceremonial book carried in hands of decon in Justinian's procession 5. Swirling spirals = jewelry created by migrating "barbarian" tribes = Greco-Roman world ZOOMORPHIC INTERLACE: celtic influence. Symbolic: - angels: creatures of heaven -Cat/mice: creatures of earth -Otters/fish: creatures of sea -Butterfly: creatures of air Christ is save all. early enlish meedle work is highly influencein this design. shows the moment of God becoming flesh at Christ's birth. - Complex symbols and patterns- which reveal the nature of Christ and divine. Affect the viewer spiritually. vINTIAL: word and image. Linking the text within image to enhance conversion abilities. Created in Columban Monastery in either Ireland or Britain. Insular manuscript: fusion of Celtic, germanic and Mediterranean cultures. One of the most sublime examples of medieval painting ever seen, the Monogram Chi/Rho page is the most important page in the late 8th-century Book of Kells, arguably the finest of all illuminated manuscripts of the Middle Ages and famous for the intricate swirling patterns of its Celtic art. The book was created about 800 by Irish monks in the monastery of Iona, off the western coast of Scotland. The monastery was founded by Saint Columba in 563, and quickly became a centre of Irish monastic art and culture. (See also: Cathach of St. Columba, 610-20; and the Book of Durrow, 650-80.) Following a particularly savage Viking attack in 806, the Iona monks, together with their collection of early Christian art, moved to the Abbey of Kells, County Meath, Ireland. The Book of Kells remained here until 1007, when it was stolen. Its ornamentation - a typical example of Celtic metalwork art - included a gold cover encrusted with precious stones. But these were torn off when the book was stolen and the rest thrown in a ditch, from where it was recovered and returned to the Abbey. The miniature painting which fills the Monogram page, is almost entirely devoted to the two Greek letters Chi and Rho (the first two letters of the Greek word for Christ) which together form Christ's monogram. Dominated by complex Celtic designs - featuring Celtic interlace and Celtic Spirals, as well as Celtic Knots, key patterns and zoomorphic images - whose intricacy is astounding, the page also features several well-hidden figurative images. These include three angels, as well as two mice eating a communion wafer. Colour pigments used in the Monogram page and other folios in the Book of Kells, include yellow and red ochre, indigo, green copper, and the extremely rare lapis lazuli which was imported from mines in Afghanistan. See also: Making of Illuminated Manuscripts (c.700-1200). Like Chinese calligraphy - which is at the same time poetry, painting, and many other things besides - the qualities of Celtic style abstract decoration go way beyond its decorative function. This is especially the case when the work in question is the Book of Kells, unanimously hailed as the highpoint of "Insular" illumination and one of the key works of Medieval Christian art (c.600-1200). Simultaneously concealing and revealing, hiding and displaying, the extraordinarily luxuriant ornamentation of the Monogram page is not simply a masterpiece of medieval art: it is, at once a work, an object, and a mysterious path, with its connotations of magic and revelation. Its visible forms are not just "something written" and then embellished; they show the Word, the divine Word, which must be hidden in order to remain Truth, as if in a tabernacle. In the twelfth century, an erudite churchman and chronicler, Giraldus Cambrensis, said of the Book of Kells: "Look at it closely and you penetrate into the greatest secrets of art, you will find there ornaments of such complexity, such a wealth of interlace knots and lines that you would think it the work of an angel rather than that of a human being." (Topographia Hiberniae, 1188). The Book of Kells contains the four Gospels of Matthew, Mark, Luke, and John, in Latin, as well as lists of Hebrew names, and the Eusebian canons. It is written on vellum and its illuminations are thought to be the result of up to three different artists. Such an exquisitely decorated Gospel book would have been treated as an object of veneration, and would have been brought out only on special feast days and festivals. It remained at the Abbey of Kells until 1541, when it was taken away for safekeeping (during Henry VIII's Dissolution of the Monasteries) by the Roman Catholic Church. Repatriated to Ireland in 1661, it was donated to the Trinity College Dublin, where it is now conserved. See also: History of Illuminated Manuscripts (c.700-1200).

Church of Saint Cyriakus

Date- 961-973 period-Ottonian art Gernrode is a small community in the Harz Mountains in Sachsen-Anhalt, recently amalgamated as a part of the municipality of Quedlinburg. In 959, Margrave Gero, who was one of the important advisers to Emperor Otto I, and who had his family root in Gernrode, made a vast donation to found a convent in memory of his son Siegfried who had died heirless. The construction for the church of the convent was begun around 960, and it is probable that it was initially dedicated to St. Mary and St. Peter. When the relics of an early 4th century martyr Saint Cyriakus, which were obtained by Gero himself in Rome around 950, were brought to Gernrode in 963, the abbey church was re-christened as Saint Cyriakus. Additions to the church were constructed in the 11th and 12th centuries including the west crypt, galleries above the aisles, the taller western towers and the Westwork. The church was completed with the building of the western apse in 1130. In the 16th century, the convent embraced a Protestant creed, and then was secularized later in the century. In 1831 the abbey was dissolved, and the property sold to private party. The inevitable decline had set in. In 1858, however, Duke Leopold Friedrich IV of Anhalt-Dessau ordered a restoration due in large measure to the intervention of art historians Franz Theodor Kugler and Ludwig Puttrich. The task of the restoration work was undertaken by Ferdinand von Quast, then the Prussian Conservator of Monuments, and the work lasted until 1866. While the exterior was partly modified in the course of the restoration, the interior of the church was brought back to the original Ottonian architectural style in most part. The church is now the home to a Reformed Evangelist congregation. The view from the west shows the prominent Westwork flanked by two cylindrical towers, a Carolingian architectural feature. It also shows one characteristic of the Ottonian style, the absence of a plinth on which the main volume of an edifice is placed. Westwerk, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Westwerk, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The exterior view from the north shows a double height wall with alternating aisle windows and blind arcades on the gallery level. Exterior from north, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Exterior from north, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The main body of the church is built on the basilica plan of a nave and two aisles, two apses and two transepts. It is documented that the eastern choir and transepts of the abbey church was built first, and then the old western choir. What would constitute the nave was a temporary wooden construction at the time of its first dedication. The plan indicates that the nave and two apses are not aligned, and they set up a doubly skewed axis, a phenomenon found in some churches constructed over old foundations, or due to inaccuracy of medieval measuring technique. Plan, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Plan, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) As one enters the church through the small door near the western edge of the north wall, and walks a short distance under the north gallery into the nave, a visitor is suddenly thrust into a generous space of an elegant proportion. The view down the nave toward the western choir above the crypt with organ loft shows that the length of the nave is divided into two equal lengths by substantial piers at the center. Two halves of the nave, in turn, are composed of two half-round arches supported by columns on both walls of the nave, thus creating Stützenwächsel. Nave, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Nave, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The gallery levels over the aisles are also divided into two by piers continued from the nave floor level. Instead of maintaining the two half round arch motif, however, the galleries are framed by six smaller arches in three groups of two arches each supported by columns. The rather spacious gallery reserved for nuns only, a special plan element found in nunneries, is an architectural feature that can be traced to the Byzantine architecture, and found later in the Carolingian architecture as well. The clerestory windows do not align with the six arches of the gallery level, but spaced evenly. This arrangement is considered a carryover from the Carolingian practice. Above the capitals of the columns at the nave level, two opposite ends of arches are conjoined with triangular indentation between the bottoms of the arches, setting up a rather modern looking geometry. Nave elevation, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Nave elevation, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm In the 12th century, a shrine had been built at the eastern end of the south aisle. It is a late 11th century copy of the Holy Sepulcher in Jerusalem, one of the oldest of its type in Germany. Shrine, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Shrine, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The outer walls as well as the interior of the burial chamber are endowed with very fine sculpture as seen on the western outer wall. Sculptural ensemble, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Sculptural ensemble, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Sculpture detail, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Sculpture detail, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The view of the ceiling clearly shows a parallelogram set up by a skewed nave with fairly recent painting of the wooden structure. Wooden ceiling, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Wooden ceiling, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm The spacious western crypt, of a hall church-like ambience, reached by a few steps from the nave level, is amply lighted from relatively large windows. Crypt, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm Crypt, Stiftskirche Saint Cyriakus, Gernrode (Sachsen-Anhalt, Germany) Photo by Jong-Soung Kimm According to the records, the abbey had a two story cloister during its prime, but it is all but erased, and private buildings are found in its place. The abbey church of Saint Cyriakus in Gernrode is an important monument in the development of the Ottonian architecture, evolving from the Carolingian style which had lapsed into close to a century of inactivity. The church of Saint Michael in Hildesheim of 1010~31 may perhaps be considered to represent the flowering of the Ottonian architecture.

Bayeux Embroidery

Date-1066-1082 period- Romanesque textile

Chartres Cathedral

Date-1134-1260 Peirod-Gothic This construction utilizes stained glass for its utilitarian and aesthetic properties

North transept rose window of Chartres Cathedral

Date-1230-1235 Period- Gothic Some lancets depict the heraldic symbol of the french monarchy, others depict golden castles on red fields -Representations side by side suggest something about the dynastic purpose of the stained glass window (unity of kingdom through dynastic marriage- the french monarchy is sanctioned by god) -Central message clearly driven by patron -Full of christian iconography- mary and christ, doves, angels, old testament queens and kings, other windows are patrofoils (standard gothic motifs)

Ekkehard and Uta

Date-1245-1260 period- Gothic location- Naumburg Cathedral They illustrate the excellent ability of master mason's at this time. These sculptures in the columns were heavy with realistic details; showing off their muscle definition under their clothes, their expressions, their drapery. you can see the heaviness and resembles the wooliness of would have been her coat. They were painted to be more lifelike

Irish High Cross

Date-8th Century Period- Early medieval The cross looks like the jewelry we looked at earlier. You can see the feel of the gold outline, the interlace patterns. On the back is shows the life of Christ.

Qur'an Frontispiece

Date-c.1368 -It has several layers of floral patterns to remind the reader of the Muslim paradise. -The 16 pointed star in the middle used geometry and pattern.

Political & Economic Life in Romanesque Europe

Europe divided into small political units ruled by powerful families, not the large nations of today Feudalism: system of mutual obligation and exchange of land for services

___are alway in Islamic art

Patterns

flying buttress

Period- Gothic it allows the windows to be so large They support the building and the weight of the walls. a flying buttress is moved away from the wall itself.

Rib vaults

Period-Gothic A vault in which the diagonal and transverse ribs compose a structural skeleton that partially supports the masonry web between them.

All the _____ style building experiments come into one building style in the Gothic period.

Romanesque

Romanesque

Romanesque means "in the Roman manner" and applies to the art and architecture of 11th & 12th century Europe Because it has characteristics of accent Rome.

How car you tell the difference between Romanesque buildings and Gothic ones

Romanesque windows are smaller Gothic windows are bigger ( they did their roofs differently making the windows bigger)

When to think Romanesque think of _____(great example)

Santiago de Compostela

_____ was a church that held the remains of Saint James

Santiago de Compostela

Islamic architecture are being inspired by what?

The Byzantine architecture around them

What is the most important pillar of Islam?

The first one

Pointed Arch (Gothic) Still work on

The most fundamental element of the Gothic style of architecture is the pointed arch, which was likely borrowed from Islamic architecture that would have been seen in Spain at this time. The pointed arch relieved some of the thrust, and therefore, the stress on other structural elements. It then became possible to reduce the size of the columns or piers that supported the arch. Nave of Salisbury Cathedral. Nave of Salisbury Cathedral. So, rather than having massive, drum-like columns as in the Romanesque churches, the new columns could be more slender. This slimness was repeated in the upper levels of the nave, so that the gallery and clerestory would not seem to overpower the lower arcade. In fact, the column basically continued all the way to the roof, and became part of the vault. In the vault, the pointed arch could be seen in three dimensions where the ribbed vaulting met in the center of the ceiling of each bay. This ribbed vaulting is another distinguishing feature of Gothic architecture. However, it should be noted that prototypes for the pointed arches and ribbed vaulting were seen first in late-Romanesque buildings.

Monasteries were used for

The sick a place for a person to stay and a place of learning

The tree of Jesse

This is an illuminated manuscript. Has marry (queen of heaven) and Christ. Marry takes on a larger roll in the catholic church. she has angles by her one is holding a repesentation of the church to show she is the seat and wisdom of the church. and the other one is holding a crown to show she is the queen of heaven. at the top is the dove of the holyspirty. she is holding a tree branch as a family tree.

archivolts

a band of molding, resembling an architrave, around the lower curve of an arch. the lower curve of an arch from impost to impost of the columns. had arms and patters that repeat

rose window

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

The nativity from the Pisa Baptistery Pulpit

a conflaytion, all different parts of Christ life into one sene.

Kufic

a highly ornamental Islamic script

horseshoe arch

a round arch that widens before rounding off

The Hypostyle hall Mosque type was used for what?

congregational gatherings and pray. (parts qibla wall, Mihrab, Minaret)

Dome of the Rock

date --691 period-- Islamic art Patron -- Abd al-Malik Material---Domed wooden octagon Location---Jerusalem Function---Shrine built over the rock to commemorate and honor the holy events, such as the ascension of Mohammed, that occurred here Context---Third most holy site of Islam: it is where Mohammed ascended to the presence of God; site of the first and second Jewish Temples; also a holy site for Jews and Christians; imitates early Christian and Byzantine centrally planned churches Descriptive Terms--- Central plan; arcade with piers and columns; Qur'an inscriptions; octogonal plan Cross Culture-- Taj Mahal, Pantheon,

Saint-Martin-Du-Canigou.

date- 1001-1026. period - Romanesqu

Stave Church at Borgund, Norway

date- 1125-1150 Period- Early medieval This is an example of the type of wooden building would be like at that time. It is very pyramid-like. At the points of the church are crosses and dragons to ward off spirits. This shows a mix of Christians and Scandinavians. Four large beams support the building. The church is devived into a central nave and side aisle this takes a form of a Basilica plane.

Saint-Denis Cathedral

date- 1140-1144 Period- Gothic the first Gothic architecture, It has all the characteristics of Gothic art: 1.pointed arches, instead of round ones 2. rib vaults. 3.flying buttress(The first three points allowed the people to remove the stone in the walls and add stained glass) 4.Stained glass windows 5. unified interior space no alternating support system in the nave arcade. 6.emphasis on light and veridicality 7. Elaborate narrative sculpture on Westworld -Ambulatory and radiating chapels, abbey church -This is a walkway around the apse which is intended to allow people to view the relics without disturbing the mass -Intricate vaulting- the more complex ribbed vault is not popular in gothic architecture (pointed arches, open up more height, and soaring verticality, more wall space, so therefore ability to create more windows) -Gothic priorities of height and light are expressed clearly (communicates transcendence) -Beautiful stain glass windows filtered the light, and the multi-colored light would encourage the feeling of transcendence- this is lux nova (new light) -Flying buttress has actual empty space

Hildigard of Bingen

date- 1150-1175 pried-Romanesque artist- Hildegard of Bingen illuminated manuscript shows her drawing the sense of the divine mistics she has she is seated within her convent. The flames represent the present of the devine this shows the power and influence of women in that day and age.

cosmos of the universe (Hildigard of Bingen apart of the book Liber Scivias)

date- 1150-1175 pried-Romanesque artist- Hildegard of Bingen period- Romanesque an image is one of the visions she had illuminated manuscript

the moralized bible (another page)

date- 1226-1234 period-Gothic (compare this to the good samaritan windows and you can see how the artist used circles, and trefoil patterned)) this artist was working alongside the stain glass artist using the same kinds of patterns and designs to tell the same sets of narrative stories the books were only supposed to be seen by the privet and the stain glass windows were supposed to be seen bt the public.

Sainte-Chapelle

date- 1239-1248 period-Gothic artist- location this was built by the French king Louis the 9th. this was to be a private chapel for him and his court. moreover, to house relics, he brought The gothic style at its utmost an emphasis on long and linder forms. Sainte-Chapelle is a typical example of Rayonnant Gothic style architecture, a style characterized by extreme degrees of illumination along with the appearance of structural lightness. In addition, decorative elements are given much greater importance in Rayonnant structures. For another renowned example, see: Cologne Cathedral (1248-1880). At Sainte-Chapelle, the mass of the upper chapel, with its steeple dominating the administrative buildings of the palais de Justice, can be admired from the Boulevard du Palais, through the railings which enclose the cour du Mai. A passage leads to the courtyard of the Sainte-Chapelle enabling a first view of the apse before skirting the south side to enter it. The elevation reflects the structure of the building. The massive appearance of the lower walls, whose openings are their only decoration, is opposed to the slender structure of the upper storey. The thick glacis emphasized by a relief sculpture frieze of foliage, that encircles walls and buttresses, corresponds to the floor level of the upper chapel. An overall feeling of balance is given by the strongly salient vertical support elements of the buttresses, which lend dynamism and rhythm to the entire building. Their unpolished, bare surfaces contrast with the fragmented ones of the stained glass windows which reflect the sun's light. Above the protruding gables that top the windows, behind the pyramidial cappings of the buttresses decorated with gargoyles, the nineteenth century restorers placed a ballustrade, restored from preserved fragments of the original. The last eastern bay of the nave is filled by the royal oratory, incorrectly known as the 'St Louis oratory', added during the fourteenth century between two buttresses. Only the ground floor is in good condition. All the sculpted decoration has been renovated: the great gable and the upper balustrade, decorated with monumental fleurs de lis and the large crowned L of Louis XII, are additions from the early sixteenth century; the statues of the king to the left, the bishop to the r -Paris, France, 13th Century -Small cathedral commissioned by a french king to hold his relics (including Christ's crown of thorns, part of the cross, and a nail) -The patron (Louis the 9th) was very devout, and he died a martyr (leading the first crusade, he was canonized)- considered the ideal medieval king -A giant reliquary, but also his private chapel -Had an area accessible for outsiders, and an upper are only for his family -3/4 of the wall space is taken up by stained glass -Walls consist mostly of tracery (intentional optical affect) -Radiant style

3 virgin and child (The throne of wisdom)

date- 12century peiod-IDK christ looks seated on a throne hand extended in blessing. repeating lines of drapery folds. repeating lines of drapery folds just like marry in the flight into Egypt (Comparison)

Minbar

date-- 1125-1130 Period-- Islamic art stepped pulpit in a mosque, used for pronouncement of sermons on Friday Made out of the wood very good carpenter Lots of geometric patterns and repeated patterns. Also has plant forms on the side to remind people of paradise. It also on the steps have horseshoe arches.

Sultan Hasan Madrasa-Mausoleum-Mosque cairo

date--- 1356-63

Baptistère de Saint Louis,

date--1300 period--Islamic art artist-- Muhammad lbh al-Zain huntting sean made out of bronze inladen with silver. this is linked to European art work

Aachen Gospels of Otto III

date-1000 period-Ottonian art the artist is looking at Byzantine examples (byzantine crusification) recalling the use of gold to set the figure of people apart. Crist stands in the center. Christ is blessing his apposles. Church in the background

saint-Pierre at Moissac

date-1115 Peiord- Romanesque This is a door way the deepness of the porch pervied shelter to travelers the cusiade had infulences on the way this portal was decorated. for exsample in the flower rosents and the ribering patteren that looks aribic. This brings the measge of the curch out to the people. it has a theme of humanity

the flight into Egypt (It is the upper picture)

date-1125 period-Romanesque location- at Saint-Lazare This represents the action of plays that would take place. (mary would be put on a sculpture donkey and out on wheels and rolled through the sanctuary) this might have been the inspiration for this.

The Magi Asleep

date-1125 period-Romanesque location- at Saint-Lazare this shows the humanity of the artwrok The story of the three kings Gislebertus carved four scenes from Matthew's Gospel on the capitals at Autun: the Wise Men before Herod, the Adoration of the Wise Men, the Dream of the Wise Men, shown here, and the Flight into Egypt. Here he adopts a Romanesque convention of showing the three kings in bed together under the one blanket. It must have been uncomfortable in the bed, wearing their crowns, but this was of course the only way of indicating that they really were kings. The embroidered blanket seems to move in harmony with the face, halo, sleeves and wing of the angel in one graceful, circular movement. It is as though the angel has slipped suddenly and silently in. With one hand he points to the star which will guide them safely home. With the other he touches one of the kings, who opens his eyes. The angel, despite his broken nose, still conveys a wonderful sense of gentleness. This carving, like the story on which it is based, wanted to convey two truths. First, God cares for each one of us. Having guided the three kings to the Christ child, he did not then abandon them. On the contrary, they are to be seen safely home, away from the angry plotting of Herod. Secondly, in caring for us, God guides us. This is symbolized by a star in the heavens. But for us it may be a light within. People in the ancient world had no problem about believing that God, through his angels, spoke to us in dreams. During the twentieth century we have rediscovered the importance of dreams in showing us more about ourselves. Moreover, as the Holy Spirit works through the whole of us, he works also through our unconscious, including our dreams. In understanding our dreams we may be able to understand more about ourselves and therefore more about the direction in which our lives should go. But God guides us in many different ways, not just through dreams.

Royal Portal, Chartres Cathedral

date-1145-1155 Style-Gothic artist location-Chartres Cathedral it is named for the portal itself a theme of Christs royal inheritance The capitals tell the life of Christ (compare this to Mosaic Islamic art) West entrance; statue-columns of kings and queens flanking doorways. Sculpture proclaim the majesty and power of Christ. To unite three doorways, sculptors carved episodes from Christ's life on the capitals. Tympanum of the right portal - Christ appears in the lap of the Virgin Mary. Scenes of his birth and early life fill lintel. Tympanum's theme and composition recall Byzantine representations of Theotokos; Mary central role in the sculptural program maintained throughout the Gothic period. Deep portals. Old Testament kings and queen jamb statues, the central doorway of Royal Portal. First signs of new naturalism in European sculpture.

Notre-Dame de Paris

date-1163 Style-Gothic

The shrine of the three kings

date-1190 period- Gothic location- Cologne Cathedral, in Cologne, Germany artist- Nicholas of Verdun What is made out of? Oakwood ,covered by gold, silver, precious stones, beads and enamel This is a relic/ shrine to have things of the three magi(The three kings) in it. The front side of the Shrine is? The only one made of pure gold. What shape is the Shrine in? The shape of a basilica (type of church) What is depicted on each bottom "long" side of the Shrine? On either side in the middle is King Solomon and King David each seated between six of the 12 Old Testament prophets. What is depicted on each top "long" side of the Shrine? On either side are 6 of the 12 apostles with an angel seated in the middle. What is depicted on one "short" side of the Shrine? Mary with the infant Jesus, and the 3 Kings with King Otto IV to the left of the Kings. The Baptism of Christ and at the top is the Christ at the Last Judgement. What is depicted at the other "short" end of the Shrine? The Passion of Christ and his crucifixion, at the top, is the resurrection of Christ. (looking at roman sculpture)

Reims Cathedral

date-1225-1290 period-Gothic Loaction- Artist- Sculpture physically attached to columns, NOT defined by architecture. Annunciation and Visitation on jamb statues of central door way, west facade. Bodies and arms in motion, detached figures from columns, converse through gestures. Sculptures celebrate Virgin Mary - High Gothic style. Human component - relatable, controppasto. West facade displays High Gothic architect's desire to reduce sheer mass and replace it with intricately framed voids. Stained class windows, not stone reliefs, fill the tympana - wall-dissolving High Gothic architectural style. 3 portals, one to nave, one to each aisle.

Holofernes' Army Crossing the Euphrates River

date-1245 location-Sainte-Chapelle period-Gothic this shows that artist are adding more nartualism to there work

Alhambra

date-1354-1391 period-Islamic art Not a religious building it has horseshoe arches Granada, Spain Location the garden was refreshing and only people of wealth had stuff like this. water was also a big theme. This is called the court of the lions

Mamluk Glass Oil Lamp

date-1355 period-- Islamic art It has several registers of decoration. In the first register---The orange thing in the middle symbolizes the patron/ the person who paid for this. The blue writing and the glass as the background. In the bottom register--the paint is in the background and the glass is forward. opposite from the first register. The writing on the lamb has to do with the light

Plan of the Abby of saint full

date-817 period-Carolingian art -St. Gall, Switzerland -ca. 820 CE -red ink on parchment -Stifsbibliothek (the monastery's library) details: -ideal plan of a set of buildings that would make it self sufficient -Most prominent feature is the longitudinal building -Central role is the church •New/redrawn plan: church consists of entrance area that is flanked by two towers, also has two apses on either side. o Altar on other side, and gallery surrounding sanctuary and altar o Altar is flanked by library and sacristy. (has a choir in front of the alter area) o Cemetery and orchard; also an herb garden and infirmary and a place for blood letting ...

Calligraphy a decorated____

everyday objects to embellish the object

gothic architects viewed the world to be designed by God in______ patterns

geometric (they saw the churches as an expression as Gods creation)

during the---- period you start to see professional artist start to group together

gothic

Abbot Suger (He was a person)

gothic period. the light was a way to connect with God. light becomes a metaphor for God. making physical a philosophical idea.

the people who do calligraphy is the ___ of all artist.

highest ( they were in charge of revealing the word of God)

Islam quickly spread where?

into a world wide religion

Mihrab

period- Islamic art (Islam) a niche in the wall of a mosque that indicates the direction of Mecca (The pic is just an example of what it would look like).

Minaret

period- Islamic art A distinctive feature of mosque architecture, a tower from which the faithful are called to worship.

Qibla

period- Islamic art This wall in a mosque always faces Mecca.

Transverse arch church

period-Romanesque The supporting arch which runs across the vault from side to side, dividing the bays. it usually projects down from the surface of the vault

Ambulatory

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

Trancept

period-Romanesque the arm of a cruciform church perpendicular to the nave. this is where the pillgrans would enter.

radiating chapels

period-Romanesque the part of the building that sticks out those circle things The location of other relics to be placed

Feudalism: system

period-c mutual obligation and exchange of land for services Landowning lord would grant property to a vassal in return for allegiance and military service Peasants would work the land for the lord or vassal in exchange for a place to live and military protection

Gothic Architecture innovations

pointed arch, ribbed vault, flying buttress, stained glass.

____ and illuminated manuscripts

relics

Muqarnas

stucco decorations of Islamic buildings in which stalactite-like forms break a structure's solidity structure originated from the squinch. Sometimes called "honeycomb vaulting or "Stalactite vaulting," the purpose of muqarnas is to create a smooth, decorative zone of transition in an otherwise bare, structural space.

Tympanum

the a vertical recessed triangular space forming the center of a pediment, typically decorated. The main point was placed/ the main subject

nave

the central area of a church the places where the priests would be

door Jambs

the vertical sides of a door frame used in Gothic art; often has ornate decorations

qibla wall

the wall of a mosque that faces Mecca; the wall Muslims face when praying

hypostyle hall,

used for congregation gathering and prayer.

What is the 2nd pillar of Islam?

worship (worship Allah 5x a day facing Mecca)

What are the Romanesque basilica plan arched roof benefits?

- it is less likely to burn down -it is better acoustically

Avoidance of figural imagery in religious artwork

-Flowing the example of the prophet Muhammad who empties the Kaaba of all of its idols 630 -Figural imagery in secular contact is accepted

Elaborate ornament

-Geometric design, scrolling vines, calligraphy(Interplay of abstraction, organic forma, and script) -Rich surface decoration(geometry is often the basis of complex surface) -Written text played a central role in Islamic art. (Becomes a means of visual aesthetic as well as transferring information)

The development of proctorial imagery

-Stain glass, sculptures, Illuminated manuscripts -Used to communicate complex theological ideas -Rising interest in naturalism.

The Church in Romanesque Europe

-The Church is the main source of artistic production .Period of major construction -Strong alliance between church and state .Rulers help spread Christianity and supported monastic communities with grants of land .Church leaders provide social and spiritual support (Often members of the ruling families) .Provided social services: caring for sick, housing travelers, educating people -Pilgrimage .Travel to the holy sites: Jerusalem, Rome, Santiago de Compostela .Venerate relicts of saints or visit places were miracles were believed to happen -Crusades .Act to unify international forces

What ideas led to the development of Gothic architecture?

.The importance of light .the rise in urban life

Gothic rise in urban life style

.focus of intellectual and spiritual life moved away from the monasteries to cities. -University and cathedrals -professional workshops develop .expanstion of the French monarchy

So why the change to gothic style?

1. Architectural advancements 2. Mediforic threw light

Characteristics of Islamic artwork

1. Avoidance of figural imagery in religious artwork 2. elaborate surface ornament 3. Eclectic 4. Various Mosque types

What are the Mosque types?

1. Central plan 2. Hypostyle hall 3.Four-Iwan

What are the integrtion of painting and sculpture within Romanesque architecture ?

1.Implications of placing sculpture on the exterior 2.the purpose and themes that were emphasized 3. Telling stories of ham frailty and sanctity to appeal to the viewer

Relic

A relic is a venerated object associated with a holy figure usually a saint or martyr. The object is often a portion of the bodily remains or a possession owned by the holy figure. They are a lot like the icons of the Byzantine church in the way people played to them to tell the gods something on their behalf. They were connected to miracles. This is encouraged by the church to visit the relics.

A reliquary

A reliquary is a container, often made of precious material, used to protect and display the sacred relic. They are a lot like the icons of the Byzantine church in the way people played to them to tell the gods something on their behalf. Relics have been collected and preserved by the Church since the first century

_____ and ____ were added to the basilica plan in hope to make more room for the visiting people

Ambulatory, and radiating chapels (period-Romanesque )

the throne of Wisdom

An image of the Virgin Mary seated on a throne with the Christ Child in her lap.A good example of a "Throne of Wisdom" sculpture which still retains some of its original color is found at the Cloisters Museum, a branch of the Metropolitan Museum of Art in New York. The sculpture is made from several pieces of walnut doweled together. Originally, the Virgin wore a red robe covered by a dark blue mantle which was decorated with tin leaf to simulate gold. Christ's tunic was originally a dark green with red lining, covered by a red overgarment known as a himation. This too was originally decorated with tin leaf. Enthroned Virgin and Child, 1150-1200, Auvergne, France, walnut with gesso, paint, tin leaf, and traces of linen, 27 inches (Cloisters Collection, The Metropolitan Museum of Art) Enthroned Virgin and Child, 1150-1200, Auvergne, France, walnut with gesso, paint, tin leaf, and traces of linen, 27 inches (Cloisters Collection, The Metropolitan Museum of Art) Enthroned Virgin and Child, 1150-1200, Auvergne, France, walnut with gesso, paint, tin leaf, and traces of linen, 27 inches (Cloisters Collection, The Metropolitan Museum of Art) The sculpture puts into visual form the typological tradition of comparing Mary to the Throne of Solomon (typology refers to the idea that events and individuals in the Old Testament prefigured those in the New Testament). King Solomon's famous throne is described in the Book of Kings of the Old Testament as a throne of ivory covered in gold. Christ, like his ancestor King Solomon, embodies wisdom and justice. Thus, Mary is a Sedes Sapientiae or Throne of Wisdom—the Mother of God, enthroned herself, who serves as a throne for the son of God turned into human flesh. The Christ Child on her lap represents divine wisdom incarnate, whose wisdom is communicated through his adult features, making him look like a miniature man. The open bible he holds is also a representation of the divine wisdom he embodies. To the medieval mind, the Throne of Wisdom statues were earthly manifestations of both the presence and the authority of the Virgin Mary. They were seen as a way to communicate with the heavenly court—relaying people's prayers and interceding on their behalf. In fact, the statues were not thought to have been made by sculptors in workshops, but to be miraculous in origin. Stories range from one being discovered by woodcutters enclosed in a tree to one arriving on a ship without sailors or oars and enveloped in a bright light. They were also said to be immune to fire as a number of accounts attest of statues surviving church fires without even being scorched. According to one thirteenth century legend, a Throne of Wisdom statue was able to save itself from a burning church by leaping out of the window and into the arms of a count who was walking by!

What church plan in still used in the Romanesque time?

Basilica plan They had all the same things as the original Basilica plan except for now they used different building material and the roof as well as roman arched/barbell arches.

____ as a elevated artform

Calligraphy

____is a elevated art form

Calligraphy

united spiritual and political authority under one ruler is ____

Calph

saint-Pierre at Moissac Tympanum

Chirst has his hand is the hand of blessings and he is on a throne. there is an angle and an eglale beside him lions, ox this repesents the four gosibles. chirst is the stable figure and everything else is moving.

Romanesque buildings tend to be _____ since the windows are smaller.

Darker

Hinged Clasp from the Sutton Hoo Burial Ship

Date 7th Century Period-early Medieval arts Hinged clasp from Sutton Hoo it was found in a ship this was a boreal grave I would have held a persons arm on in his armor patterns the pattern micros front and back born animals that connected to kingship - The two sides of the clasp are connected with a gold chain - cut into geometric shapes - Millefiori - Thin pieces of garnet and blue-checkered glass - Reflect the tradition of Scandinavian jewelry - Boars represent strength and bravery, important virtues in Anglo-Saxon society

Jamb statues, Chartres Cathedral

Date- Period- Gothic location- Artist- Old Testament kings and queen jamb statues, the central doorway of western Royal Portal. First signs of new naturalism in European sculpture. Columnar figures; maintain long, slender space (Romanesque style), drapery resembles fluting, similar to Kore draping, almost compartmentalized, faces become more human - personality. 3D volumes, not reliefs Their feet don't really sand on anything, they are elongated The logic of the portal design clearly connects these jamb figures to the figures above, clearly defining the Divine source of Royal power in the image of Christ in Majesty. These jamb figures also serve for us entering the church as intermediaries to the figures above. This thus places us in relation to this hierarchy of power descending from Christ above to the symbols of earthly kingship below. These jamb figures also present significant comparisons to Romanesque precedents. For example, compare these figures to Romanesque figures like St Paul from the trumeau of Moissac:

Bronze Doors of Bishop Bernward

Date- 1015 period-Ottonian art From saint Michael's Even at the the time they were made, the bronze door leaves were unique. As a case in point, they surpassed the bronze doors that Charlemagne had cast for the Collegiate Church in Aachen, not only because of their immense height, but also due to the reliefs that make the bronze doors of Hildesheim Cathedral a sculptural masterpiece. Of all the bronze doors with figural scenes dating back to the Middle Ages, the Bernward Doors are the oldest, with what is probably one of the earliest great sculptural cycles of images north of the Alps and one of the boldest works of all medieval castings in ore. 16 panels depict the biblical story of Salvation in extraordinary vividness and in a manner that is unbelievably dramatic for the time in which they were made. The panels on the left leaf depict scenes from the Old Testament, starting at the top with the Creation of Man and ending with the murder of Abel by his brother Cain. The panels on the opposite side show events from the New Testament, starting with the Annunciation to Mary at the bottom and ending with Easter and the Ascension at the top. In the west side of the cathedral an explanation of the portal can now be given to the many groups of visitors in an appropriate environment without disturbing the tranquility of the nave. The area between the Bernward Doors and the outer western end of the westwork now forms a sort of vestibule. In order to access this from the cathedral, two entrances to the left and right of the organ gallery have now been created.

Speyer Cathedral

Date- 1080-1106 Period- Romanesque Revival of groin vault, with some innovative variations A clerestory was built, allowing for better lighting, compared with Toulouse. To do this, they use groin vaults for the nave, with cut-stone blocks joined by mortar. Alternate-support system Alternating Support System (ASS). Groin vaults between barrel vaults. Allows for clerestory. Modular construction.

The codex Colbertinus (St.Matthew page)

Date- 1100 Period-Romanesque illuminated manuscript A portrait of St. Matthew from the Codex Colbertinus, looks different from other representations. The evangelist stands within an architectural framework that surrounds him. He blesses and holds his book, within the compact silhouette of his body. There is little sense of three-dimensionality.

Christ and Disciples on the Road to Emmaus

Date- 1100 Period-Romanesque location-Silos Their body seems to be boneless (not realistic) Christ and Disciples on the Road to EmmausAbbey of Santo Domingo, Silos, Spainc. 1100 CEstone relief-Christ identified through conventions: hierarchal scale, cruciform halo-Christ also depicted as medieval pilgrim: hat, satchel (scallopedshape indicated specific pilgrimage site: Santiago de Compostela - Iberian peninsula coast; shell was a badge attesting to their piety and accomplishment), walking stick-Resurrected Christ with two disciples on the road from Jerusalem to Emmaus-Romanesque-style: narrative and iconic figural imagery in deeply-carved ornamental frameworks-Public display of Christian doctrine and moral teachings

the moralized bible

Date- 1226-1234 Period-Gothic This manuscripts was not made by monks This is an example of things made by professional manuscripts. these books were mainly created for the universities. payed for the Lewis the 9th This shows Lewis the 9th, next to him is his mother, she also has a throne and crown. they are both showen in a court style(Small and delicacy) Lewis has the curly hair that is popular in the cort at this time. (we saw this same kind of hair as Gabriel statute from reims cathedral). They are set inside a trefoil arch and above them are geometric patterns to show the buildings of their palace. on the bottom, there is a professional artist who is working on a book. you can tell that he is an artist and not a monk by his hairstyle and he is wearing a cap. he is working on a page he has tools of a illuminator. The artist is being directed by the monk and the monk is writing as well. even though these books weren't written by monks they still had to be approved by members on the church. this a very wealthy manuscript speaking to the wealth of Lewis the 9th

Lindisfarne Gospels: St. Matthew, cross-carpet page

Date- 715-720 Period-Early Medieval Artist-Eadrith, bishop of Lindisfarne Material- Illuminated manuscript, ink, pigments, and gold on vellum Location- Lindisfarne, Britain Function -Page from the bible. Very ornate due to the rarity of books of the time and their importance. Context-Cross depicted on a page filled with horror. Cloisonne style used in the body of the birds. Mixture of Celtic imagery and Christian theology Descriptive Terms-symmetrical arrangement, syncretic, horror vacui Cross-Culture--- Golden Haggadah, Bahrum Gur Fights the Karg, Folio from the Qur'an BOTTEM ONE Page from the bible. Very ornate due to the rarity of books of the time and their importance. Function "Incipit" meaning the opening words of Luke's gospel; numerous Celtic spiral ornaments; set patterns appear in the large O Context Naturalistic detail, Incipit, Celtic, spiral instruments, Latin Descriptive Terms Golden Haggadah, Bahrum Gur Fights the Karg, Folio from the Qur'an Cross-Culture

Book of Durrow, St. Matthew

Date- 7th century Period-Early medieval that swisted outline reflect the meddle work of the time for exsamp (Hinged Clasp from suttonn Hoo) Book of Durrow, Symbol of St. Mathew (Insular). This is one of the oldest illustrated Gospel books from Ireland. This abstract figure of a man, the symbol of the Evangelist Matthew, is related to the use of cloisonné for metalwork and other decorative forms for portable objects. In shape, he recalls the large buckle found in the Sutton Hoo Ship Burial. He is surrounded by a frame of interlace. (Fig. 7.8) 4 gospels, canon tables (indexes of different passages from the Gospels) A couple pages of illumination at beginning of each gospel Emblem of the Evangelist Carpet page=abstract decoration, unique feature of Hiberno Saxon Manuscripts Metalworking aesthetic put into the painting of manuscripts St. Matthew=complete flat and patterned, body looks like a belt buckle Smooth geometric form with patterns from metalworking Looks like a cloisonne piece 2 profile feet, a frontal head, looks like a monk Not classicizing, but anti classical Recalls emphhatically the art of the enamel works. His body is a solid block pattern resembling the milliefiori inlay of the Sutton Hoo Clasps. Only his head and tiny feet add a human element. Simple arcs for nose brows and mouth resemble more of a pattern than human face. Hair is cut in the fashion of the Celtic church with high shaved forehead and straight cut.

Gero Crucifix

Date- 970 period-Ottonian art The GeroCrucifix, which is the oldest surviving monumental sculpture of the crucifixion to date, is an emotional and pitiful depiction of Christ crucified on the cross. The Gerocrucifix is a sculpture in the round, carved from wood, and it is also stained to add more color and depth. It was created in 970-1000 during the Ottonian era of art and was brought to the Cologne Cathedral in Germany by Archbishop Gero. The carving has a smooth texture and looks naturalistic. It stands 6 feet and 2 ¼ inches tall, which makes it seem life like (Gardner, ch.11). Its large, life-like presence adds to the powerful emotion the crucifix brings. Christ is portrayed as crucified in an emotional and pitiful connotation through his features and body language. He is a slumped and lifeless looking figure hanging from the cross. His twisted body, his hands nailed to the cross at two different heights, his head hanging straight down, and his closed eyes all show that Christ has already been crucified. Depicting him as crucified and without a halo makes Christ seem even more vulnerable. The carving is smooth, and the lines are naturalistic (Stockstad, 448). The carving style and the size of the crucifix help the viewers imagine the actual scene of the crucifixion, bringing a feeling of pain and sorrow rather than triumph of resurrection. Although the GeroCrucifix is from the Ottonian period, his long hair and bearded face is an element often found in Carolingian art, and his limp, twisted body is an element from byzantine art. Contrasted to the crucifixion pieces from the byzantine period, here Christ is depicted as vulnerable and undignified (Gardner, ch.11).

Equestrian Statue of Charlemagne (equestrian portrait of charles the bald)

Date- 9th century Period- CAROLINGIAN This is a more private work that would have been put in the place since it is so small Carolingian art and architecture Influenced by Roman art- connects to the glorification of the Roman empire Influenced by Equestrian Statue of Marcus Aurelius Equestrian statue conveys POWER Charlemagne is too big for horse Charlemagne = focal point Wears a jeweled crown for the Holy Roman Emperor and holds an orb (world domination) 9th Cen. Western Medieval, Carolingian, Metz, France. Made of bronze, it was originally covered in gilt. The horse he is riding is a restoration. It is based on the common Roman Equestrian statue, and he is covered in a variety of symbols that indicate he is the Holy Roman Emporer -stresses imperial imagery of holding the orb, a symbol of the world in the rider's hands -influenced by Roman equestrian statues -rider much larger than the horse he sits on -sits bolt upright, with little attention to the natural movement of the horse

The reliquary of Sainte Foy

Date- 9th-10th century Period- Romanesque artist- This is a container that holds the remains of a child saint. Location- Conques The Reliquary of Sainte Foy is a 33-½ inch wooden statue covered in gold and gemstones. The reliquary holds the skull of Sainte Foy in the bust, which is made from a repurposed Roman helmet. The use of spolia, or the repurposing of Roman artifacts, connects the statue to Rome, the seat of Christianity, and its riches. The gemstones and cameos were donated by pilgrims as offerings to guide them safely on the route to Santiago de Compostela, as the Abbey Church of Sainte-Foy is on the road to the popular pilgrimage route. The date of the creation of the reliquary is unknown, but the first recording of it was in 1010 by Bernard of Angers. The reliquary is made of wood but gold-covered, and the statue is luxurious, with the gold and gemstones sparkling in the light. Sainte Foy is sitting, with her arms outstretched, staring forward at the viewer, and her blank stare reflects the spiritual transcendence from life on Earth. The gold conveys heavenly martyrdom, and the reflective surface evokes a connection to the spiritual world. The crown, enthroned posture, and the rich ornamentation connect her to sainthood in Christianity and support her significance. The youthful appearance of the figure reflects her actual age of martyrdom, which was twelve. Her throne has images of lambs and a Crucifixion scene, which parallels her to sacrifice to that of Christ. The materials of the reliquary highlight Sainte Foy's importance in Christianity. Gold's shine, rarity, luxury, and malleability make it a divine material.

Hidta Gospel

Date- early 11th century period-Ottonian art Presentation Page with Abbess Hidta and Saint Walpurga, Hitda Gospels, 11th century, Ink and Colors on Vellum, architecture of convent = large, power of abbess shown by size of architecture, golden trees = more emotion, German/Roman empire = Xn

homily (arist gouda )

Date- early 12th century artist- Gouda illuminated manuscript self-portrait the first female signed self-portrait in western art

The Miracle of the Crib at Greccio

Date- late 13th to early 14th century period- Gothic Location Church of St. Frances Assisi, Italy Fresco -portrays St. Frances making the first christian manger scene in the church at Greccio -scene set in present even though the event portrayed took place in the past=characteristic of all gothic visual narratives -Gothic church portrayed in picture -large wooden cross similar to Coppo di Marcovaldo -lower right, St Frances holds Jesus above a plain box-like crib next to mini animals (represent nativity) -on left pulpit w/ stairs leads up to the entrance & candlesticks at its corners -elaborate carved canopy surmounts the alter on the right Late 13th Century, or early 14th century fresco, Italian; lay people peer into a private part of the church; St. Francis credited with the creation of the nativity scene, image of the Christ on the cross is backwards so that it is as if we have an inside view of things. artist of this piece is disputed. - nativity (presepi) st. francis Italian saint set up the first navitiy seen so people could engage with christs birth -under stand st. francis heavy influence -life of francis (with halo over his head) fresco that depicts first nativity seen -Painted cross we see from the back and the structural support and the chain and the cross is tilted forward like it typical would in Italian churches did hangings . Engages the beholder as Christ looks down on them from the cross This is full of narrative images. This is telling a story of a miracle. Christ has a halo and so had st. of aCC. The monks have the bowl hair cutes are participating in the mass and singing praises well this miracle happens. This painting has a que tordes naturlistam and setting these seed in a contemporary context The alter space is recognizable by the cloth and the alter It dose not have gold background anymore this miracle had taken place on earth thats why there is no gold. the people show monumentality and they take up space look at the shading that gives them a sense of 3-D The monks are elevated to help them standout

Westwork, Abbey Church of Corvey

Date- late 9th century period-Carolingian art it shows the inportance of the bisilica church Significance: A uniquely Carolingian invention (exterior). The west work is a uniquely Carolingian invention, part of the building reserved for the ruler and his entourage, almost like a separate building. Clear geometry and powerful masses of the exterior.

Church of Sant Vicenc

Date- ten-hundrade Period- Romanesque Art location- Catalonia, Spain. artist - Visual appearance: the east end has an ambulatory around the choir and three semicircular chapels opening onto it.

Great Mosque of Cordoba

Date-- 785 Period---Islamic Patron--Abd al-Rahman I Material--White stone and red brick arches, original wood cieling replaced with vaulting, marble columns Location--Cordoba, Spain Function--Mosque for Muhammedites; later became a Catholic church Context--Built on a site of a Christian church -- Affirmed islamic presence; expanded several times; marble columns from the earlier Christian church and Roman buildings; similar plan as many of the early mosques of the time; alternating red and white characteristic of Islamic architecture Descriptive Terms--Non-representational; Roman columns; mosaics; monumental; Repeated patterns in columns and double arches: colorful and dramatic; monumental and awe inspiring; horseshoe arches; Puerto del Espiritu Santo: nonrepresentational, horseshoe arch, alternating dark-light Cross Culture--Carson Pirie Scott building, Chartres Cathedral, Temple of Amun-Re

Muqarnas Dome

Date--1354-1391 period-- Islamic art location Alhambra This was used as a winter audience hall everything is covered in pattern. It has an 8pointed star. Form: a 3D honeycomb of stalactites dangle from the ceiling (made of stucco), squinch dome

Santiago de Compostela

Date-1078-1122 period-Romanesque a big part of the pilgrimage Has a transverse arch Nave, Cathedral of the body St. James, Santiago de Compostela, Spain11th-12th cent. CE stone masonry-Cathedral built to accommodate large numbers of pilgrims and allow them to move easily from chapel to chapel to venerate relics without disrupting services within main space ("pilgrimageplan" - functional and traffic control)-Admired for excellence of its construction-Tired, weary pilgrims would enter church that welcomed them with open portals covered with the dynamic, moralizing sculpture that characterized Romanesque churches (no doors to close

Cluny three

Date-1088-1130 period-Romanesque was meant to look like old saint peters basilica in Rome it had a central nave double side ials it had 2 transept arms towers The largest church in Europe The nave looks a lot like Santiago de Compostela nave (This church has the very very very early beings in a pointed arch)

durham Cathedral

Date-1093 around then Period- Romanesque What things are significant about the design of Durham cathedral 1. There were stained glass windows 2. Stone ribs gave extra support to the roof 3. Built in Romanesque/Normanesque style 4. Almost complete replica of St Peters Basilica in Rome The floor plan of Durham Cathedral is the same as which famous building in Rome? St Peters Basilica What were the two architectural advances that enabled Durham Cathedral to be built? The pointed arch/ribbed vault What did the pointed arch enable builders to do? Make rectangular sections and higher ceilings What did the rib vault allow? Create lighter roof sections/larger ceilings What was Durham cathedral designed to do? Reflect power and wonder of God Durham Cathedral introduced a new system of masonry __________, which would become a hallmark of later Gothic architecture. ribbed groin vaults

Trumeau of Saint-Pierre at Moissac

Date-1115 Period-Romanesque t displays the second coming of Christ. Jesus is centred within the piece. A part of a portal, the piece is the door to salvation. The 4 angels support Jesus, while two are listening to who is going to heaven or hell. Who are the men on the far sides Jesus? 24 men of the apocalypse, playing instruments, with different gestures. Who are the men below Jesus? Mortals who are being judged by Jesus . In the case of Ste. Pierre, the portal is divided in half vertically by the trumeau, which is decorated on three of its four sides. On the front, the viewer is faced with three pairs of intertwined lions and lionesses who are there to symbolically guard the entry into the sacred space of the church. Such symbolism comes from Early Christian imagery where the doors to Christ's tomb are often shown with lion's heads on them. On the east side of the trumeau is a representation of the Old Testament prophet Jeremiah (some scholars suggest it is Isaiah), who holds a scroll in his hands. On the west side is a figure identified as St. Paul, from the New Testament. The placement of these two figures on the sides of the trumeau was no doubt deliberate as they face two other figures on the door jambs (the outer walls of the portal where the doors are attached). Across from St. Paul is a representation of St. Peter, also a New Testament saint (and the namesake of the church), and across from Jeremiah, is the Old Testament prophet Isaiah. The pairing of Old and New Testament figures was common during this period as a means of suggesting the fulfillment of Mosaic law (the law coming Moses) in the new Christian law under Christ. Rosettes on the lintel, south portal, Sant-Pierre, Moissac, c. 1115-30 Rosettes on the lintel, south portal, Sant-Pierre, Moissac, c. 1115-30 Rosettes on the lintel, south portal, Saint-Pierre, Moissac, c. 1115-30 The trumeau has more than just a decorative function though as it is also supports the horizontal beam of stone above called the lintel. The lintel is decorated with ten rosettes that are bound together by a carved rope and have a repeated floral pattern at both the upper and lower spaces between each rosette. Notice that on both the left and right ends of the lintel, the rope and rosette design is coming from the mouth of a fantastical animal of some sort (image, above)! Details such as these, with imaginative, hybrid animals are a common characteristic in Romanesque art from illuminated manuscripts to sculpture.

Last judgment Tympanum at Saint-Lazare

Date-1120-1130 Period-Romanesque Aristis maybe be the person who paid for it, they don't know for sure- Gislbertus there are words in latten to let people know the ways to avoid hell grapevine connected to the ideas of ucerest signs of the zodiac and times of the year.(This showed that God is the god of all time). Christ is shown seated in a thrown. he is enlogated. The people who are seen as going into heaven is oh christ right side. you can see that side is heaven is little arches. on Christ's rights side are hell and the weighing of the soal.

the stain glass the flight into Egypt

Date-1140-1144 period-Gothic This was original to the church of Saint-Denis COMPARISON ((Also seen in the to date-1125 period-Romanesque )location- at Saint-Lazare ) The stained glass has become another place to tell narratives. Stained glass windows in Chartres Cathedral, France. Mary with Christ, dove of Holy Spirit above. Rose window from North transept - Mary with Christ in central section, kings of Old Testament in outer sections, Saint Anne with child Mary, lineage of Christ, given by Blanche Castille (castles on red background and fleur-de-lis on blue). Transform to mystic light. Stained glass windows - synonymous with Gothic architecture How The Piece Was Made The glass itself was made by bringing sand and ash to the molten state under intense heat and staining it with color through the addition of metallic oxides The molten material would then be blown into sheets and placed on a whitewashed board with a full-scale drawing on it as a guide. The glass painter would then cut from this sheet the individual shapes of color that would make up the scene. After the cutting, the piece would undergo the process of grozing to achieve the precise shape needed for the composition The artist used a vitreous paint at full strength to block light a delineate features such as facial expressions. After being fired in the kiln the artist would assemble the complex puzzle of glass with strips of lead called cames. Lead was used because not only was it strong enough to hold the glass, it was flexible enough to take the shape of the complex pieces

Annunciation and visitation

Date-1230-1255 Period-1230-1255 Location-Remims cothedral much for 3-d they stand more infront of the coloems. they have a greter sence of vaulume and weight. This looks like the remains of roman sculptures you can see this in the drapery. standing in contrpostol the faces of the women show themes of roman porticrue. There are two marrys the first two poeople on the left are the angle Gabrell and Marry when he comes to tell her she will be with child. mary isnt influenced by roman sculptures. however on the right handside there is many and elisibeth in the visitation and they are very infulenced by roman stautes. the angle Gabrell is from a third workshop his face is different his hair is different and he tilts his head towards Mary. In the Visitation, one can see more movement from the Virgin and her sister Elizabeth. This is more iconic of the Gothic period. Also giving the two women a more detailed drapery where every fold of the fabric is recognized. The women are not given much emotion, but the Virgin does seem to have a small smile once again. Her focus is more out above the crowd possibly symbolizing the realization of what is to come, not only for her, but for her son and the obstacles he must conquer. Surrounding the two scenes there is again the ornamentation the Gothic style that is so well recognized. Each figure is given their individual pedestal with decorative droplets of stone forming the tiers below the platform. They are each almost completely removed from the wall of the cathedral. Reims Cathedral offers its visitors a profound experience as well with its marvelous sculptures and soaring heights, but clear style changes found in the Annunciation and Visitation is not common.

St. Maurice

Date-1250 Period- Gothic Location-Magdeburg cathedral St.Maurice was from north Africa. This is a black man but he is dressed in gothic clothing. He is meant to be characteristic as a person. He was painted to be more lifelike

Pisa Baptistery Pulpit

Date-1260 period- Gothic artist- Nicola Pisano Location- (it got a lot of its design from roman sarcophagi) Nicola Pisano, 1260, (white Carrera) marble - 1255 Nicola received a commission - He was aided by several assistants such a Arnolfo di cambio. - Hexagonal pulpit itself consists on five scenes from The life of Christ. - Vasari relates that Nicola pisano constantely studied roman remains and roman sculptors from Augustan times and these marked a deep impression on him. - Figures wear tunics in a roman fashion - virgin wears pallium over her head in the same manner as a roman matron - panels on pulpit give a continuous narative Fortitude (on pisa baptisty pulpit) - considered the first modern representation of a heroic nude in the classical manner - contropossto - pose derives from one championed by Polyclitus and other sculptors of the 5th century BC. Adopted by Renaissance artists to lend convincing physicality to their figures. - can be compared to roman Phaedra sarcophagus - use of foreshadowing - lion - represents the strength and braveness - figure is derived from Hercules -Nicola Pisano's baptistery pulpit retains many medieval design elements, for example, the trefoil arches and lions supporting columns, but the panels draw on ancient Roman sarcophagus reliefs -has brought his study of Classical sculpture into this pulpit

Tile Mosaic Mihrab

Date-1354 Period-- Islamic art Medium: Glazed mosaic tile work Original Location: Isfahan, Iran Setting: Madrasa, presumably. Key Figures: None Vocabulary: Madrasa, Imami, mihrab, niche, muhaqqaq, caligraphy, ornament. Influences on the Artist: Patron: Unknown Audience: Unknown, perhaps Muslim Worshippers? Later Islamic "The elaborate arabesques served to create a surface decoration, pattern and bright color for flat two-dimensional surfaces." - script very much integrated into decorations. - inscription from the Koran in kufic is on the pointed arch. - mahaqqaq (a style of calligraphy) is the very loopy, elaborate, beautiful and dense writing on outside. Not in kufic. Middle has an address to the beholder. - outermost part has 5 pillars of islam on it.

the sarcophagus with the indian triumph of Dionysu

Date-190 Period- Artist Nicola Pisano gained inspiration from

Great Mosque of Cordoba prayer hall

Date-785 period- Islamic art Patron-Abd al-Rahman I Material-White stone and red brick arches, original wood cieling replaced with vaulting, marble columns Location-Cordoba, Spain Function-Mosque for Muhammedites; later became a Catholic church Context-Built on a site of a Christian church -- Affirmed islamic presence; expanded several times; marble columns from the earlier Christian church and Roman buildings; similar plan as many of the early mosques of the time; alternating red and white characteristic of Islamic architecture Descriptive Terms-Non-representational; Roman columns; mosaics; monumental; Repeated patterns in columns and double arches: colorful and dramatic; monumental and awe inspiring; horseshoe arches; Puerto del Espiritu Santo: nonrepresentational, horseshoe arch, alternating dark-light Cross Culture-Carson Pirie Scott building, Chartres Cathedral, Temple of Amun-Re

Palace Chapel of Charlemagne

Date-792-805 Period- CAROLINGIAN Artist : Odo of Metz Look to anchen rome of idea for the building Multifunction: Local church, A royal mausoleum, A palace chapel. - Double Shell. - two spiral stairs. - Roman windows so that Charlemagne can connect with ppl gather around outside, correspond to his throne interior. - The throne is on the axis, on second floor sothat he could look across toward the altar on the first floor. - Another altar on the second floor, suggesting two rulers ( heavenly and earthly). - Piers and two columns, similar with chruch of S.vitale at Ravenna, Italy. ( a Byzantine Building) - The two columns frame himself and also frame his view " see all, and be seen by all ". - Lost the spacial dynamism in Byzantine Architecture. [ Piers are heavier, lower] - More muscular, more abstract than Byzantine. CONCLUSION: Formal/ aesthetic change from oepn, fluid, dynamic space, minimized masses, and abundant illumination of Byzantine architecture to more fragmented space, simple, heavy masses, and reduced illumination of early medieval architecture in the West.: general process of abstraction.

Oseberg Ship

Date-815-820 Period-Early medieval This is a barual ship it is wooden led a queen and an adendent a type of barrel ship that would have been used in calmer waters the ship is disigned to look serpent like and the cirled part as the snakes head the boat had dead animals, and also the queens weeving the boat gives us an idea of viking aniaml style thik body dragon like The Viking animals are called "gripping beasts' with large bodies and cat-like eyes, their bodies are encrusted in geometric shapes cover all of the Viking's belongings and the traces of black, white, yellow, red and brown, indicating that the carved wood was painted. All women including most of the elite worked in the fiber arts. The women also wove huge sails of waterproof wool that gave ships longer distance capacity. Men and women are working together! (Made by Vikings)

Lindau Gospels

Date-870-880 period-Carolingian art Named after the Abbey of Lindau on Lake Constance (Germany), where it was once housed, the Lindau Gospels ranks as one of the great masterpieces from the collection of the Morgan Library & Museum. Its jeweled covers constitute one of the most important of all medieval treasure bindings. Quite unusually, the manuscript's exquisite covers are in fact from entirely different regions and moments in time. Dating to the late eighth century, the back cover is the earliest component of the book and was likely made in the region around Salzburg (Austria). The front cover, in contrast, dates to nearly a hundred years later (ca. 870-80) and was likely produced in what is today eastern France. The manuscript itself is later still (ca. 880-90), and was certainly written and illuminated in the monastery of St. Gall (Switzerland). At some unknown point in time, precious silks from Byzantium and the Middle East were attached to the inside covers of the manuscript, thus adding yet another layer of complexity to this fascinating object. The manuscript itself contains the text of the four Gospels along with standard supplementary material, such as the prologues of Jerome, prefaces for each of the Gospels, chapter listings, and twelve richly illuminated canon tables. Clearly inspired by textile designs, the two decorative pages that frame the manuscript's canon tables, are a particularly unusual feature of the manuscript's illumination. Nothing quite like them exists in any other manuscript from the period. Although the Lindau Gospels lacks portraits of the evangelists, as do several other examples of gospel books from St. Gall, the beginnings of the four Gospels are nevertheless distinguished through sumptuous double-page spreads, which feature the opening words of the respective Gospel text. As many as seven different scribes were engaged in the copying of the texts, and it is thought that a monk named Folchart—one of St. Gall's preeminent artists—was personally responsible for some of the manuscript's illuminated pages.

The battle of the bird and the serpent

Date-975 Period- Early medieval Artists- Emeterius and Ende This represents good over eliv or christ over saiten. there is a tree to the left of the bird there is a similarity in the tree to the nogials that are found in the Islamic Karon pages

Colophon Page

Date-975 Period- Early medieval Artists- Emeterius and Ende This shows us the bell townwe. there are 2 monks illustrating books. there are other monks ringing the bell and climbing up steps. Has strong Islamic influence tempera on parchment part of scriptorium tiles are Islamic windows look like horseshoes

Coronation Gospels, St. Matthew

Date-9th century period-Carolingian art -Achen, Germany, c. 800 CE -Ink and tempera on vellum -He is represented as a seated philosopher, and an angel -Calm and classically reserved -Naturalism and classicism obvious here According to legend, the Vienna Coronation Gospels (c. 795) were discovered in Charlemagne's tomb within the Palatine Chapel in the year 1000 by Otto III; the emperor had apparently been buried enthroned, that is, sitting up, with the Gospels in his lap (Charlemagne was King of the Franks and became the first Holy Roman Emperor in 800 and ruled a vast kingdom, including parts of what is today France, Germany, Belgium. Holland and Italy). A gospel book is a book containing the books of the four evangelists, Matthew, Mark, Luke and John, who each offer their story of Christ's life and death. The manuscript is clearly a luxury object, written in gold ink on purple-dyed vellum. Characteristic of the Carolingian Renaissance, the artists of the Coronation Gospels were interested in the revival of classical styles, which effectively linked Charlemagne's rule to that of the 4th century ancient Roman emperor Constantine. The classical style is evident in the poses and clothing of the four evangelists, or Gospel writers, who recall images of ancient Roman philosophers (for example, this one from The Metropolitan Museum of Art). Charlemagne probably had this Gospel book made before he was crowned emperor. It is such an impressive book that it was used in imperial coronation services from about the twelfth to the sixteenth century. Following the creation of the Coronation Gospels, the Ebbo Gospels (c. 816-35) are most famous for their distinctive style in contrast to contemporary Carolingian illuminated manuscripts. The Ebbo Gospels were made for Ebbo the Archbishop of Rheims, which was one of the major sites for manuscript production at the time.

the tunic blessed (AKA the shroud of the virgin cloth relic)

Date-?? Period-Gothic During a fire in 1145 the church burnt down. A few clerics fled from the flames carrying the shroud into the crypt. They emerged safely after three days, having been sustained miraculously by the intercession of the Virgin. This was declared a miracle by a papal legate, and interpreted as a sign that the Virgin wished for a new and grander church to built for her veneration, and so the cathedral as it currently stands was built. The cathedral now has stained glass and sculpture that heavily emphasizes the life of the Virgin, and the Sancta camisia now is housed in a reliquary. The Veil of the Virgin gained its sanctity through touching Mary's body. It was not necessary for there to be any residual breast milk for the tunic to have such power. There were even stories of shirts gaining protective power by touching the chasse of the tunic of the Virgin.

the good Samaritan windows

Date-around 1200 Period-Gothic location- Chartres Cathedral The types of windows on the ground floor of the cathedral This window shows the creation and the fall they upper part the lower part is the parable of the good Samaritan paring the two stories together makes a god Surman out of it and how they connect. These images are symbolic. the seans are set in geometric shapes.

Royal Rune Stones

Date-around 985 the rock on the left has a scripted on it known as rune gives an example of why the monuments were set up The one on the left was an illustration on it The gravesite to show of his parent's accomplishments and his accomplishment There is a person on the rock with a halo that is thought to be a dispensation of Christ crucified. But instead of on a cross he is held by ribbon and interlace.

Muslim writing comes a way of _____ the objects within the Islamic society.

Decorating

The Founder of Isalm (Muhammad) never classifyed to be what?

Divine

What is the first pillar of Islam?

Faith in one god. (Allah)

What is the 4th pillar of Islam?

Fast during the month of Ramadan (To practice spiritual discipline to focus on Allah)

The original ------ style was actually developed to bring sunshine into people's lives, and especially into their churches

Gothic

Gummersmark brooch

Gummersmark brooch Period?? 6th century hight 5 3?4" there is a centeltical patter, it is abstract, rectangle.. shapes animal style lots of animal hidden in the patters eye and beak pattern

Characteristics of Romanesque architecture

Heavy, solid masonry walls -Round arches -Masonry vaulted ceilings -Transverse arches and compound parts divide the nave into bays -Addition of ambulatory and radiating chapels surrounding the apse.

trumeau

In church architecture, the pillar or center post supporting the lintel in the middle of the doorway.

Eclectic

Incorporate various ideas and motifs from the diverse cultures they encompass.

what is different about Islam compared to Judaism and Christianity?

Isalm sees completing the prophetess of the superseding Jewish and Christian faith.

the five pillars of ?

Islam

____ are going to define clams of the roman church and turn pope validate the authority of kings.

Kings

What is the 5th pillar of Islam?

Make a pilgrimage to Mecca

Florentines called this the ____?Dark period a decline in culture art..ect...

Middle ages.

_____ was the place where books were made

Monasteries