CH 16 + 17 (250)
WHO: WHAT: WHEN: ca. 1050-1130 WHERE: Conques, France WHY: Important pilgrimage church on route to Santiago de Compostela in N. Spain. Also an abbey, meaning church was part of a monastery where monks lived, prayed, worked. small parts of monastery have survived but whole church remains intact. Smaller churches on site from 7th century, this one was begun in 11th century finished in mid-12th century. ROMANESQUE church, barrel vaulted nave lined w arches on interior. known as pilgrimage church bc many of large churches along route to Santiago de Compostela took similar shape. Main feature was cruciform plan, not only took symbolic form of cross but also helped control crowds of pilgrims. most cases pilgrims could enter western portal, circulate around church towards apse at eastern end. apse usually contained smaller chapels (RADIATING CHAPELS) where pilgrims could visit saint's shrines, especially sanctuary of St. Foy. they cd then circulate arnd ambulatory and out the transept (crossing). Design helped to regulate flow of traffic throughout church although intention and effective use of design has been debated. WARNING IN STONE: TYMPANUM OF THE LAST JUDGEMENT::: When a pilgrim arrived at Conques, probs wd head for church to receive a blessing, before they got inside an important message awaited them @ portals: the Last Judgement. Scene is depicted on the tympanum (central semi-circular relief carving above central portal). In center sits Christ as judge, sits enthroned w right hand pointing upwards to saved while left hand points to damned. Scene would have served as reminder to those entering Church abt joys of heaven, torments of Hell. on christ's right are mary, peter, possibly founder of monastery as well as entourage of other saints. Below saints is small arcade covered by a pediment, meant to represent House of Paradise, these are the blessed, those who have been saved by christ and will remain in Paradise for eternity. Center, Abraham, above him outstretched hand of god, beckoning kneeling Saint Faith. Other side of pediment, row of angels open graves of the dead. As dead rise from tombs, souls will be weighed, either go to heaven or hell, seen right under Christ's feet- clear division btwn doorway to Paradise and Hell. In Hell is a chaotic scene, small pediment in lower register where the Devil (opposite to Abraham) reigns over kingdom. Devil, like christ, also an enthroned judge, determining punishments that await damned according to severity of sins. Devil's left is a hanged man, reference to Judas who hanged himself after betraying Christ. Beyond Judas a knight is tossed into Fires of hHell and above him a gluttonous man is hung by legs for his sins. Each sinner represents a type of sin to avoid, adultery, arrogance, misuse of church offices. Portal not only warning for pilgrims but also clergy who lived in Conques. THE RELIQUARY:::: Pilgrims arriving in Conques at 1 thing on mind: reliquary of Saint Foy. This reliquary (container holding remains of saint or holy person) one of most famous in Europe, so famous it originally was located in monastery in Agen but monks at Conques plotted to steal it to attract more wealth and visitors. Reliquary @ Conques held remains of St. Foy, young Christian convert living in Roman-occupied France during 2nd century. At age 12 she was condemned to die for refusal to sacrifice to pagan gods, therefore revered as martyr (someone who dies for faith). St. Foy was v popular saint in southern France, relic extremely important to church. Date of reliquary is unknown, Bernard of Angers spoke of it in 1010. First he was frightened that the statue was too beautiful saying, "Brother, what do you think of this idol? Would Jupiter or Mars consider himself unworthy of such a statue?" Concerned abt idolatry- that pilgrims wd begin to worship jewel-encrusted reliquary rather than what reliquary contained and represented, holy figure of St. Foy. gold and gem encrusted statue would have been wowza for pilgrims. Travelers paid homage to St. Foy by donating gemstones for her so her dress is covered w agates, amethysts, etc etc. face is thought to have originally been head of a Roman statue of a child. Reuse of older materials in new forms of art is known as SPOILA, not only practical but it made object more important by associating it w past riches of Roman empire. Church of Saint-Foy provides v nice example of Romanesque art, architecture. HOW:
Church of Sainte-Foy
WHO: Eadfrith WHAT: Tempera on vellum, 1'1 1/2" x 9 1/4" WHEN: ca. 698-721 WHERE: Northumbria, England WHY: Made by a medieval monk from a quill pen (with goose feather) with black ink made from soot, in a scriptorium of Lindisfarne, island off of coast of Northumberland, England. For the next 6 years he will copy the Latin and illuminate gospel text w cool images-snakes that weave themselves into knots or birds. Good example of Insular or Hiberno-Saxon art, produced in British Isles btwn 500-900 CE, time of invasions and political upheavals. Monks read from it during rituals at Lindisfarne Priory on Holy island, Christian community that safegaurded the shrine of St. Cuthbert (bishop who died in 687, relics were thought to have curative and miraculous powers). A Northumbrian monk (likely bishop Eadfrith), illuminated codex in early 8th century. 259 written and recorded leaves include full page portraits of each evangelist; ornamental cross-carpet pages (large cross set against background of ornamentation); and Gospels each introduced by historiated initial. Codex also includes 16 pages of canon tables set in arcades. Correlating passages from each evangelist set side by side allowing reader to compare narrations. 635 CE Christian monks from Scottish island Iona built priory in Lindisfarne. 150 yrs later in 793 Vikings from North attacked and pillaged monastery, survivors managed to carry Gospels to Durham, tower on Northumbrian coast abt 75 miles west of original location. This info comes from manuscript itself, written by Aldred, 10th century priest from priory at Durham. His colophon (inscription that relays info abt book's production) tells us that Eadfrith created the manuscript to honor god + St. Cuthbert. Aldred also inscribed vernacular translation btwn lines of Latin text, earliest known Gospels written in form of English. Matthews cross-carpet page shows a mesmerizing series of repetitive knots + spirals, dominated by central cross. Eadfrith stacked wine-glass shapes horizontally + vertically against weaves of knots, which are actually snake-like creatures curling in tubular forms, mouth clamping down on their bodies, their bodies change colors. The cross is outlined in red w arms outstretched + pressing against page edges, stabilizes backgrounds "gyrating activity" and turn repetitive energy into meditative force. Luke's incipit (Latin for it begins) page teems w animal life, spiral forms, swirling vortexes, snake knots. Blue pin-wheeled shapes rotate in repetitive circle in vortex of Q of the opening sentence- Quoniam quidem multi conati sunt ordinare narrationem (As many have taken it in hand to set forth in order). One knot in a tall rectangle on far right unravels ina blue heron's chest shaped comma, this shape is repeated vertically down the column, twisting the comma into cat's paw at bottom, the cat has just consumed 8 birds that stretch vertically from its head presses off this appendage to turn its body 90°; ends up staring at words RENARRATOINEM (tell again). Eadfrith also added host of tiny red dots that envelop words except when they don't- letters "NIAM" of "quoniam" are composed of vellum itself, negative space now asserting itself as 4 letters. Luke's incipit page in marked contrast to straightforward portrait page. Eadfrith sat curly-haired bearded evangelist on red cushioned stool against un-ornamented background. Luke holds quill in right hand. feet hover above a tray supported by red legs, he wears a purple robe streaked w red. Gold halo behind Luke's head indicates divinity. Above halo flies blue-winged calf, two eyes turned to viewer w body in profile. bovine clasps green parallelogram btwn 2 forelegs, reference to Gospel. MATTHEW= ANGEL (human aspect of Christ), MARK = LION (triumphant and divine Christ), LUKE= OX/BULL (Christ's sacrifice on cross), JOHN= EAGLE (Christ's second coming). John's Gospel opens w dense interplay of stacked birds underneath crosses of the carpet page. One bird in upper left hand side has blue and pink stripes in contrast to others that have registers of feathers, Stripes have negative association to medieval mind, appearing chaotic and disordered, insane wore stripes also prostitutes, criminals, jugglers, sorcerers, hangmen. Maybe Eadfrith was warning viewers that evil lurks hidden in most unlikely of places ?????????????? Maybe practicing humility in avoiding perfection??????????????????????????????????? . Variety and splenda of Gospels are such taht even in reproductions, images are :O. HOW:
Lindisfarne Gospels
WHO: WHAT: Embroidered wool on linen, 1'8" high (entire fabric = 229'8"????????????????????????????????? how) WHEN: ca. 1070-1080 WHERE: Bayeux, France WHY: Commemorates struggle for throne of England btwn William, Duke of Normandy, and Harold, Earl of Wessex (Normandy = region in N. France). Year was 1066- william invaded and successfully conquered England, became 1st Norman King of England (William the Conqueror). Tapestry consists of 75 scenes w Latin inscriptions depicting events leading up to Norman conquest, culminating in Battle of Hasting in 1066. Textiles end is missing, probs showed coronation of William as King of England. Work is not a true tapestry as images are not woven into cloth, instead imagery and inscriptions are embroidered using wool yarn sewed into linen cloth. Tapestry sometimes viewed as type of chronicle, however inclusion of episodes that don't relate to Norman conquest complicate categorization. still presents a rich representation of particular historic moment as well as providing important visual source for 11th century textiles that haven't survived. Probs made in Canterbury around 1070. bc it was made within generation of Norman defeat of Anglo-Saxons, considered to be somewhat accurate representation of events, Based on a few key pieces of evidence, historians believe patron was Odo, Bishop of Bayeux. Odo was 1/2 brother of William. Tapestry favorably depicts Normans in events leading up to Battle of Hastings, presenting Norman POV. Odo appears in several scenes with inscription ODO EPISCOPUS, though mentioned only briefly in text sources. Late middle ages, tapestry was displayed at Bayeux Cathedral, built by Odo , dedicated in 1077, size and secular subject matter suggest may have been intended to be a secular hanging, perhaps in Odo's hall. Do not know identity of artists who produced tapestry. High quality needlework suggests Anglo-Saxon embroiderers produced tapestry, at time was prized thruout Europe. Theory is supported by stylistic analysis of depicted scenes, draw from Anglo-Saxon drawing techniques. Many of scenes believed to have been adapted from images in manuscripts illuminated at Canterbury. Artists skillfully organized composition of tapestry leads viewer's eye from 1 scene to next and divided compositional space into 3 horizontal zones. main events of story are contained within larger middle zone. upper and lower zones contain images of animals + people, scenes from Aesop's Fables, scenes of husbandry and hunting. At times images in borders interact w or draw attention to key moments in narrative. 75 episodes depicted present a continuous narrative of events leading to Battle of Hasting + battle itself., presents multiple scenes of narrative within single frame and draws from manuscript traditions such as scroll form. Subject matter has more in common w ancient monumental decoration as Trajan's column, typically focused on mythic and historical references. Embroiders attention to details provides sources for scenes of 11th century life as well as objects that no longer survive. One scene of the Norman's first meal after reaching shores of England, see dining practices, also see ex of armor used in period and battle preparations. to left of dining scene, servants prepare food over fire and bake bread in outdoor oven. Servants serve food as tapestry's assumed patron Odo blesses meal. Immediately after dining, Will and Odo and other half bro Robert meet for war council. preps for battle flank both sides of 1st meal scene. Visual evidence of 11th century battle gear and construction of a motte-and-bailey (fortification w a tower situated on a raised earthwork (motte) surrounded by enclosed courtyard (bailey)) to protect Normans position. images of battle horns, shields, arrows as crucial ammunition shed light on military provisions and tactics of time period. Will's tactical use of cavalry is shown in "cavalry" scene. Cavalry cd advance quickly and easily retreat, wd scatter opponent's defense allowing infantry to invade, strong tactic, flexible and scary. Foot soldiers included, cavalry commands scene, presents impression that Normans were cavalry-dominant army, scene also depicts 11th century battle gear. Cavalrymen shown wearing conical steel helmets w protective nose plate, mail shirts, carrying shields and spears, foot soldiers seen carrying spears and axes. soldiers armored, horses not. brutality of war is evident in battle scenes. figures of mortally wounded men and horses are strewn along lower zone as well as within main central zone. Provides gr8 example of Anglo-Norman art, serves as medieval artifact that operates as art, chronicle, propaganda, visual evidence of 11th century life. HOW:
Bayeux Tapestry
WHO: Unknown WHAT: Silver gilt worked in filigree with inlays of garnets and other stones, 4" long WHEN: 6th to 7th century WHERE: France WHY: Fibulae are brooches made by popular Roman military campaigns, consist of a body, pin, and catch. Ornate fibulae became the hot stuff in early middle ages, one of most common objects in barbarian (meaning foreign, non-Roman, nomadic, and illiterate groups) graves. Grave goods like fibulae provide concrete info about barbarians, little documentation about them. Diverse ethnic groups always borrowed from one another. This fibulae was v popular style called "crossbow" bc of resemblance to the weapon. Unscrewing the left knob at end released pin, detail called pierced openwork and bears a Christian cross, circular leaf motif. Byzantines part of eastern Roman empire (capital= Constantinople). Empire was continuation of Roman empire, majority of modern-day Italy overtaken by barbarian tribes. This pair of Frankish fibulae is gr8 example of cloisonné (means literally "partitioned" in French), technique characterized by inlaid semi-precious stones. This fibulae also shows popular motif of barbarian art in the middle ages: EAGLES! Originally a pagan symbol of of the sun was used by Imperial Rome, later become emblem of St. John. End of fibulae in shape of eagle heads, little fish are shown on main body of brooches. Garnets used to decorate eyes of eagles, wide ranges of gems used to decorate rest of fibulae. Demonstrated proficiency of barbarian metal workers during middle ages. Pendants could have been hung from small loops on bottom of fibulae. Proof of diverse and distinct cultures. ZOOMORPHIC HOW: Artisan would solder wires onto metal base, fill areas those wires created w stones (to be distinguished with cloisonné enamel, has colored enamel baked w these partitions).
Merovingian Looped Fibula
