PPT6_ BYZANTINE _ EARLY_ MEDIEVAL_ WARRIOR _ LORD _ HEBERNO _ SAXON _ CAROLINGIAN _ OTT ONIAN _ ROMANESQUE _ HUEZO

BYZANTINE ART

• Architecture: central and quincunx plan churches • Mysterious, irrational, and decorative • Columns with basket capitals • Mosaics with lots of gold • Stylized forms: large eye, long thin fingers and noses • Central, frontal, symmetrical • Figures lack mass and have down-pointing feet • Hieratic (representations or methods are fixed by or as if by religious tradition) scale • Flat, linear; no shadows, no landscape, no background, little modeling • Isocephalic-heads at same level

Cathedral of San Marco (Venice, Italy) • Byzantine and local artists create mosaics over centuries • Built for St. Mark’s relics • Doge Domenico Contarini • Begun 1063 • Cruciform plan with central dome over the crossing and four smaller domes over the arms

Lamentation Over the Dead Christ • Mural in St. Pantaleimon, Nerezi, Macedonia • 1164 C.E.

• Emperors lifted ban on religious images • For more emotion added Mary and John in a natural setting • Represents intense grief

Three Angels (Old Testament Trinity) • Andrei Rublyev • Tempera on wood 4’ 8” x 3’ 9” • ATP 1410 C.E.

• Russian icon painting strong patterns, firm lines, & intense contrast colors so worshipers could see in candle light and incense • Lines contrast demeanor • Same figures, different colors

EARLY MEDIEVAL

• ATP 500-1000 • Represnts a fusion of Christianity, the Greco-Roman heritage, and cultures of the non-Roman peoples

ART OF THE WARRIOR LORDS

• Interlace patterns • Imaginary animals • Appears on small portable objects (manuports), usually with a practical purpose • Most likely large artworks did not survive war rather than were not made

Purse Cover from Sutton Hoo ship burial • • ATP 625 C.E.

• Gold, glass, & enamel cloisonné w/ garnets and emeralds 7½”

Cloisonné- soldered metal strips (cloisons) edge up to metal background, filled w/stones, glass, or glass paste

• Believed to be funeral ship of Lord Scyld (from Beowulf) • Part of medieval tradition of burying great lords w/ rich furnishings

Animal-Head Post

• From Oseberg, Norway ship burial for two women • ATP 825 • Wood about 5” high • Animal form & lace pattern- fundamental motifs from Northern Frontier of former Roman Empire warrior lords • Highlights intricate Viking carving ability

HIBERNO SAXON (Ireland, England)

• Distinctive illuminated manuscripts (hand written books containing books of the Bible and other Christian writings) • Swirling animal images mixed with Christian ideas • High crosses between 8 th and 10 th centuries exceptional in mass and scale • Corsses were freestanding and unattached to any structural fabric

Cross and Carpet Page of Lindisfarne Gospels • From Northumbria, England • ATP 698-721 C.E.

• Tempera on Vellum 1’ 1½” x 9¼” • Cobination of Christian images and animal interlace style • Eadfrith, Bishop of Lindisfarne • For God and St. Cuthbert who’s relics were recently deposited in the church

Chi-rho-iota (Book of Kells)

• Probably from Iona, Scotland • Owned by Kells monastery in southern Ireland • Late 8 th or early 9 th century • Tempera on vellum 1’ 1” x 9½” • Opening of Matthew’s Gospel • XPI in Greek letters

St. Matthew (Lindisfarne Gospels)

• Northumbria, England • ATP 698-721 C.E.

• Tempera on vellum 1’ 1½” x 9¼” • Eadfrith, Bishop of Lindisfarne • Follows tradition of Mediterranean manuscript illumination

High Cross or Muiredach

• Monasterboice, Ireland • Sandstone about 18’ high • 923 C.E

• For burial of Abbot Muiredach who headed on of oldest monastaries in Ireland • Freestanding high Celtic cross

CAROLINGIAN ART

• Evidence of classical Illusionism: modeling, landscape background, attempts at perspective • Expressionism: energetic lines, emphasis on expression of inner emotional state

St. Matthew (Ebbo Gospels)

• From Hautvillers (near Reims), France • ATP 816-835 C.E.

• Ink and Tempera on vellum 10¼” x 8¾” • Gospel Book of Archbishop Ebbo of Reims – made for him • Manuscript illuminator with energy that amounts to frenzy

Crucifixion on front cover of Lindau Gospels • Saint Gall, Switzerland • ATP 870 C.E.

• Gold, precious stones, and pearls 1’ 1 3/8” x 10 3/8” • Example of Carolingian book covers • Made in workshop of Charles the Bald’s court • Delicate metal relief in repoussé • Statuesque and open eyed – less real portrayal

Palatine Chapel of Charlemagne

• Aachen, Germany • ATP 792-805 C.E.

• Built under Charlemagne • Carolingian conversion of Byzantine building techniques-foreshadows Romanesque • resembles San Vitale in Ravenna, Italy • Geometric clarity

OTTONIAN ART

• Stylized figures with big eyes • Completely linear and flat • Hieratic scale • Composition: central, frontal, symmetrical • Isocephalic

Abbey Church of St. Pantaleon

• Cologne, Germany • ATP 966-980 C.E.

• Begun by Archbishop Bruno • Empress Theophanu expanded the church to include a crypt

St. Michael’s Doors with Relief Panels

• Hildesheim, Germany • 1015 C.E.

• Commissioned by Bishop Bernward • Bronze 16’ 6” high • Left door: Genesis right door: Life of Christ • Each cast separately with the figural sculpture using wax casting

Crucifix for Cologne Cathedral

• Commisioned by Archbishop Gero • ATP 970 C.E.

• Painted carved wood 6’ 2” • Cologne, Germany • Example of revival of monumental sculpture • Reliqaury-shrine for sacred relics • More human and closer to Byzantine than Early Christian • Powerful intense agony portrayed

ROMANESQUE

Sculpture

• Attached to churches, completely dependent on the architecture • Stylized, elongated

Architecture

• Use of Roman round arch and barrel vault • Larger churches built to accommodate pilgrimages: second aisle, ambulatory, radiating chapels • Stone barrel vaults replace flammable wooden roofs, cause walls to be thicker, w/ smaller windows so darker

St. Sernin Cathedral

• Toulouse, France • ATP 1070-1120 C.E.

• Counts of Toulouse had church built for Saint Saturninus • Geometrically precise and crisply rational • Lengthened nave, doubled the side aisles, and added a transept, ambulatory, and radiating chapels for pilgrimages • Barrel vaults

St. Ambrogio Cathedral

• Milan, Italy • ATP late 11th, early 12th century • Built in Honor of Milan’s first bishop St. Ambrose • First instances of rib vaulting

Saint Etienne Cathedral

• Caen, France • Begun 1067 C.E.

• Begun by William of Normandy (William the Conqueror) • Sexpartite vaulting ribs creating six sections • Very high vaults for clerestory

Durham Cathedral

• Durham, England • Begun ATP 1093 C.E.

• William of Normandy’s conquest shanges the English style • Patterned ribs on naive’s groin vaults • Quadrant arches (curves extend ¼ circle’s circumference in tribune • Quadrangular ashlar blocks carved by corps of expert masons for walls

Pisa Cathedral Complex

• Pisa, Italy • Cathedral 1063 C.E., baptistery 1153 C.E., campanile 1174 C.E.

• Coherent group of 3 Romanesque buildings • Marble incrustations-wall decoration of bright panels of different colors, as in Pantheon’s interior • Pisans wanted it to be a glory to God and bring credit to the city

Christ in Majesty

South portal of St. Pierre Cathedral • Moisac, France • ATP 1115-1135 C.E.

• Record the second coming of Christ as King and Judge • Tympanum (semicircular lunnette) above door • Frieze relief