Transcript Art History1 chap16

EARLY MEDIEVAL ART
PART 1
EUGENIA LANGAN
MATER ACADEMY CHARTER HIGH SCHOOL
HIALEAH GARDENS, FLORIDA
WITH APOLOGIES TO FRED KLEINERT
THEME:
TV NETWORKS – HCO
TV = TRIBES, VIKINGS FOR EXAMPLE
NETWORKS = THREAD ( “LINES” OF
NOMADIC INVASIONS)
WITH “KNOTS” (CLASSICISM TIES UP
WITH NORTHERN EXPRESSIONISM 
NEW STYLE) – AND INTERLACING!
HIBERNIAN - SAXON
CAROLIGNIAN
OTTONIAN
GOALS (GENERAL)
 UNDERSTAND THE DISTINCTIVE ARTISTIC
TRADITIONS OF THE EUROPEAN PEOPLES AFTER
THE FALL OF THE ROMAN EMPIRE.
 UNDERSTAND THE CHRONOLOGICAL
PLACEMENT OF THIS PERIOD FOLLOWING THE FALL
OF THE WESTERN ROMAN EMPIRE IN THE FIFTH
CENTURY BUT PRECEDING THE ROMANESQUE ART
PERIOD OF THE 11TH CENTURY.
 KNOW THE DIFFERENT TYPES OF ART, MEDIA,
AND THEIR RESPECTIVE CULTURES.
 APPRECIATE THE ROLE OF CHRISTIAN MONKS IN
PRESERVING AND CREATING ART
TRACE INFLUENCES OF MEDIEVAL ART STYLES.
 EXAMINE THE SECULAR AND RELIGIOUS
ARCHITECTURAL FORMS IN THE EARLY MIDDLE
AGES.
 KNOW AND USE RELEVANT ARTISTIC AND
ARCHITECTURAL TERMINOLOGY
 CAREFULLY ANALYZE THE STYLISTIC ELEMENTS
AND HISTORICAL CONTEXT OF ART AND
ARCHITECTURE, AND HOW THE OTT
2ND, 3RD Cs. -- HUNS PUSHED GERMANIC TRIBES WEST
“FALL OF ROME” 476
10th C. -- MAYGAR INVASIONS
TOURS
8TH C. – ARAB INVASIONS (HALTED @ BATTLE OF
TOURS 732)
8TH – 11TH Cs. – VIKING INVASIONS
TIMELINE

BACKGROUND
 410: VISIGOTHS CONQUERED ROME
 476: “FALL OF ROME” (ACCORDING TO GIBBON) –
DATE VALID BECAUSE AFTER THAT NO “EMPEROR”
AND NO “EMPIRE”  NO UNIFIED POLITICAL
AUTHORITY IN WESTERN EUROPE
 5TH – 10TH CENTURIES – ART OF WARLORDS AND
INVADERS
 © 500 - 752: MEROVINGIANS
 © 500: CLOVIS I (FRANK) CONQUERED GAUL,
CONVERTED TO ROMAN CATHOLICISM  W. EUROPE
ROMAN CATHOLIC
ROMAN GAUL (AND BRITANNIA)
THIS MAP, SHOWING THE 4-WAY PARTITION AMONG THE
SONS OF CLOVIS I IN 511 (AFTER CIVIL WAR), ALSO
INDICATES EXTENT OF HIS KINGDOM

8TH – 10TH CENTURIES: VIKING INVASIONS
 MEANWHILE, IN BRITAIN, 500 – 1000, HIBERNOSAXON ART
 © 415 - 900: CHRISTIAN CONVERSION OF IRELAND
AND SCOTLAND
 © 500: ANGLO-SAXON CONQUESTS OF “ENGLAND”
(ROMAN PROVINCE OF BRITANNIA)
 789: VIKING INVASIONS BEGAN
 793: VIKINGS DESTROY LINDISFARNE MONASTERY
 839: VIKING CONQUEST OF IRELAND
 1013: VIKING CONQUEST OF ENGLAND
ANGLE, SAXON, JUTE
SETTLEMENT IN
ENGLAND (WHY ENGLISH
IS GERMANIC
LANGUAGE!)
VIKING INVASIONS
NORTHERN EUROPEAN
“BARBARIAN” ART:
MEROVIGNIANS, ANGLOSAXONS, VIKINGS
 SPECIFIC GOALS
 UNDERSTAND THE ARTISTIC, TECHNICAL AND
STYLISTIC TRADITIONS OF THE NORTHERN EUROPEAN
PEOPLES.
 KNOW THE DIFFERENT TYPES OF ART AND THE
RESPECTIVE CULTURES ASSOCIATED WITH THE
MEROVINGIANS, ANGLO-SAXONS, AND VIKINGS.
 NOTICE THAT THE IMAGERY INCLUDES INTERTWINED
RIBBON-LIKE DESIGNS CALLED INTERLACING AS WELL AS
ABSTRACT ANIMAL IMAGERY. THESE DESIGN FEATURES
REFLECT THE CULTURES OF PRE-CHRISTIAN NORTHERN
EUROPE.
 EXAMINE THE ARTISTIC TRADITIONS APPLIED TO A
VARIETY OF MEDIA, SUCH AS WOOD, STONE, AND
METAL.
MEROVIGNIAN ART
MEROVIGNIAN LOOPED
FIBULA,
FROM JOUY-LE-COMTE,
FRANCE, MID-SIXTH
CENTURY. SILVER GILT
WORKED IN FILIGREE,
WITH INLAYS OF GARNETS
AND OTHER STONES, 4”
HIGH. MUSÉE
D’ARCHÉOLOGIE
NATIONALE, SAINTGERMAIN-EN-LAYE.
METALCRAFT
WHAT’S
NOTABLE ABOUT
STYLE?
STYLIZED
ZOOMORPHIC
ELEMENTS OF
FIBULA
STRUCTURE
AND
DECORATION
DETAIL, MEROVIGNIAN FIBULA
ANGLO-SAXON ART – MORE METALCRAFT
PURSE COVER FROM THE SUTTON HOO SHIP BURIAL ,
SUFFOLK, ENGLAND © 625. GOLD, GLASS AND
ENAMEL CLOISONNÉ WITH GARNETS AND EMERALDS,
7 ½” LONG. BRITISH MUSEUM
DETAILS, SUTTON HOO PURSE: MAN BATTLING
BEASTS, EAGLE BATTLING DUCK
STYLE?
COMPOSITION = MERGING OF STYLIZED HUMAN,
ANIMAL FIGURES INTO SINGLE ABSTRACT DESIGNS
DETAIL, SUTTON HOO PURSE – STYLE?
INTERLACED ANIMAL DESIGN
“VIKING” ART
BURIAL SHIP, OSEBERG,
NORWAY © 825. WOOD
75 ½’ LONG. VIKING
SHIP MUSEUM, OSLO,
NORWAY
DETAIL OF
OSEBERG SHIP
STYLE:
INTERLACED
ANIMALS
CULTURAL
DIFFUSION
(WHEN?)
ANIMAL-HEAD POST FROM OSEBERG SHIP (© 825).
WOOD, HEAD = 5” HIGH. . UNIVERSITY MUSEUM OF
NATIONAL ANTIQUITIES, OSLO.
ANIMAL FIGURE WITH
GEOMETRIC AND INTERLACED
ANIMAL PATTERNS
FUSION OF N. EUR. WARLORD
ART STYLES
FLASH FORWARD TO CHRISTIAN SCANDINAVIA
WOOD CARVED
PORTAL
OF THE STAVE CHURCH
AT URNES, NORWAY
© 1050 – 1070. WOOD
STYLE?
INTERLACED ANIMAL/
PLANT DESIGN)
STAVE CHURCH,
SØR-AURDAL,
NORWAY
SCANDINAVIAN
POST AND BEAM
CONSTRUCTION
STAVES
(ON STONE
BASE)
HIBERNO-SAXON ART
SPECIFIC GOALS:
 UNDERSTAND THE SAXON ARTISTIC INFLUENCE IN
THE BRITISH ISLES.
 UNDERSTAND THE EARLY INFLUENCE OF
CHRISTIANITY AND THE WAYS IN WHICH INDIGENOUS
ART FORMS SERVE THE CAUSE OF CHRISTIANITY.
 DESCRIBE THE SPECIFIC ART ELEMENTS AND
PRINCIPLES OF DESIGN APPLIED TO THE
ILLUMINATED MANUSCRIPTS, CELTIC CROSSES AND
OTHER OBJECTS.
OBSERVE THE CONTINUATION OF INTERLACING AND
ABSTRACT ANIMAL IMAGERY. WHY DID ART USED FOR
CHRISTIAN PURPOSES RETAIN THESE QUALITIES?
ILLUMINATED MANUSCRIPTS
“IN PRINCIPIO ERAT VERBUM ET VERBUM
ERAT APUD DEUM ET DEUS ERAT VERBUM.
. . . ET VERBUM CARO FACTUM EST
ET HABITAVIT IN NOBIS”
“IN THE BEGINNING WAS THE WORD, AND
THE WORD WAS WITH GOD, AND GOD WAS
THE WORD. . . . AND THE WORD BECAME
FLESH AND DWELT AMONG US” JOHN 1:1
REMEMBER GENERAL GOAL - UNDERSTAND THE ROLE OF
CHRISTIAN MONKS IN PRESERVING AND CREATING
ILLUMINATED MANUSCRIPTS IN SCRIPTORIA
CARPET PAGE, BOOK OF
DURROW, POSSIBLY FROM
IONA, SCOTLAND © 660680. INK AND TEMPERA ON
PARCHMENT, 9 5/8” X 6
1/8”. TRINITY COLLEGE
LIBRARY, DUBLIN.
WHAT’S NEW?
PAGE WITH ONLY
DECORATION, NO TEXT
OR ILLUSTRATION, IN
MANUSCRIPT
WHAT’S OLD?
INTERLACED ANIMAL
MOTIF
FIRST PAGE OF GOSPEL OF
MARK, BOOK OF DURROW
WHAT’S NEW?
LARGE DECORATIVE
INITIAL LETTERS
“INITIUM EVANGELII IESU
CHRISTI FILII DEI”
WHAT HAD TO BE THE
SOURCE OF THE BOOK OF
DARROW?
MS. FROM MEDITERRANEAN
– BUT NOTE REJECTION OF
CLASSICAL STYLE!
MAN (SYMBOL OF ST.
MATTHEW)
BOOK OF DURROW
DESCRIBE!
ONLY BODY PARTS, HEAD
AND FEET – UNNATURAL
POSE AND
PROPORTIONS + SOLID
CLOAK W/ GEOMETRIC
MOTIFS – NO
BACKGROUND
NO INTEREST IN
NATURAL WORLD
INTERLACE BORDER
“INSULAR
STYLE”: X’IAN
ICONOGRAPHY + N. EURO
STYLE
LION , BOOK OF
DURROW -- SYMBOL OF?
MARK
NOTE STYLIZED BODY,
INCLUDING
GEOMETRIC MOTIFS
(UNNATURAL COLORS)
EAGLE, BOOK OF
DURROW
SYMBOL OF?
JOHN
OX, BOOK OF DURROW
SYMBOL OF
LUKE
CHI-RHO-IOTA PAGE,
BOOK OF KELLS,
PROBABLY
FROM IONA
8TH - 9TH Cs.
TEMPERA ON VELLUM
13” x 9 ½”. TRINITY
COLLEGE LIBRARY,
DUBLIN
DETAIL, XPI PAGE, BOOK OF KELLS – MAN AND
ANGELS
DETAIL, XPI PAGE, BOOK OF KELLS
-- ANIMALS
EVANGELISTS SYMBOLS
PAGE, BOOK OF KELLS
MATTHEW AND MARK SYMBOLS, BOOK OF KELLS
LUKE AND JOHN SYMBOLS, BOOK OF KELLS
VIRGIN AND CHILD
PAGE,
BOOK OF KELLS
ILLUMINATED TEXT
FROM THE GOSPEL OF
MARK,
ERAT AUTEM HORA
TERCIA, ET
CRUCIFIXERUNT EUM,
BOOK OF KELLS
INITIAL PAGE,
GOSPEL OF
JOHN, BOOK OF
KELLS
CHRIST
ENTHRONED,
BOOK OF KELLS
MEDITERRANEAN
INFLUENCES?
PEACOCKS, JESUS
HOLDS BOOK,
DRAPING
LINDESFARNE
LINDESFARNE ABBEY RUINS IN FOREGROUND –
SACKED BY VIKINGS 793
CROSS-INSCRIBED
CARPET PAGE,
FOLIO 26 VERSO OF
THE LINDISFARNE
GOSPELS, FROM
NORTHUMBRIA,
ENGLAND,
© 698–721.
TEMPERA ON
VELLUM, 1’ 1 ½” x 9
¼”. BRITISH
LIBRARY, LONDON.
TRUER-COLOR IMAGE,
AND DETAIL, CROSS AND
CARPET PAGE,
LINDESFARNE GOSPELS
WRITHING INTERLACED
ANIMALS
BUT COMPOSITION 
SERENE!
SAINT MATTHEW PAGE
LINDISFARNE GOSPELS
MORE ADHERENCE TO
CLASSICAL MODEL
THE SCRIBE EZRA,
CODEX AMIATINUS
FOLIO 5 RECTO, FROM
JARROW, ENGLAND
© 689-716
TEMPERA ON VELLUM
20” X 13 ½”. BIBLIOTECA
MEDICEA LAURENZIANA,
FLORENCE
EARLIEST EXTANT FULLLENGTH VULGATE
INSULAR?
NO – CLOSE COPY OF
ROMAN SOURCE
EARLY MEDIEVAL
MONASTERIES
SPECIFIC GOALS:
 UNDERSTAND THE ROLE OF CHRISTIAN MONKS
IN PRESERVING AND CREATING ILLUMINATED
MANUSCRIPTS IN SCRIPTORIA
 EXAMINE AND DESCRIBE THE LAYOUT OF A
MEDIEVAL CHRISTIAN MONASTERY
SCHEMATIC PLAN
FOR A MONASTERY
AT SAINT GALL,
SWITZERLAND © 819.
RED INK ON
PARCHMENT, 2’ 4” X
3’ 8 1/8”.
STIFTSBIBLIOTHEK,
SAINT GALL.
ONLY EXTANT
EARLY MEDIEVAL
ARCHITECTURAL
PLAN
MODULAR PLAN
MEDIEVAL MONASTERY = SELF-SUFFICIENT
COMMUNITY (EQUIV. = MEDIEVAL MANOR)
MODEL OF ST. GALL © 719
ST. GALL BECAME AN INDEPENDENT
PRINCIPALITY IN 13TH C.
ABBEY OF ST. GALL
TODAY (16TH C. –
BAROQUE)
CELTIC CROSSES
SPECIFIC GOALS:
DEFINE THE ANTECEDENTS, SPECIFIC ART
DETAILS AND DESIGN PRINCIPLES OF
CELTIC CROSSES
NEOLITHIC MONUMENTAL ART OF NORTHERN EUROPE:
MENHIRS (MEGALITHS) AND HENGES, ALL © 3000 – 2000
B.C.E.
MENHIR, COUNTY CORK, IRELAND
MENHIRS IN CARNAC, FRANCE AND KLOBUKY,
CZECH REPUBLIC – THEY’RE ALL OVER N. EUROPE
AND
WHEREVER
CELTS
MIGRATED
IN
NEOLITIHIC
ERA ,
INCLUDING
IBERIA
HENGES, ALSO ALL OVER NORTHERN EUROPE
RING OF BRODGAR, ORKNEY – BASIC HENGE – CIRCLE OF
MENHIRS
STONE HENGE, SALISBURY, ENGLAND.
CONSTRUCTION?
POST AND LINTEL
HIGH CROSS OF
MUIREDACH
(EAST FACE),
MONASTERBOICE,
IRELAND © 923.
SANDSTONE, 16’ HIGH
DESIGN?
CROSS INTERSECTS
CIRCLE
HIGH CROSS OF
MUIREDACH
(EAST FACE)
LAST JUDGMENT, HIGH CROSS OF
MUIREDACH, EAST FACE
WEIGHING OF SOULS, HIGH CROSS OF
MUIREDACH (EAST FACE)
HIGH CROSS OF
MUIREDACH
(WEST FACE)
CRUCIFIXION, HIGH CROSS OF MUIREDACH
(WEST FACE)
ARREST OF CHRIST, HIGH CROSS OF
MUIREDACH (WEST FACE)
DETAIL, WEST FACE, HIGH CROSS OF
MUIREDACH – EVOKES?
INTERLACING
VISIGOTHIC AND
MOZARABIC ART IN SPAIN

© 500 – 1000: EARLY MEDIEVAL SPANISH ART
 © 500 – 725: VISIGOTHIC SPAIN (ARIAN, THEN
ROMAN CHRISTIANS)
 © 725 – 1492: MOZARABIC SPAIN (CHRISTIANS
LIVING UNDER MUSLIM RULE)
VISIGOTHIC SPAIN AT GREATEST EXTENT –
KINGDOM OF TOLEDO, 700
UMAYYAD CÓRDOBA CALIPHATE 1000. KINGDOMS OF
LEÓN AND CASTILLE, X’IAN; KINGDOM OF PAMPLONA
SOMETIMES UNDER X’IAN RULE -- MOZARABIC?
VENTA DE
BAÑOS
SAN JUAN BAUTISTA, VENTA DE BAÑOS, SPAIN 661
BASILICA W/ THREE APSES (ONE ON OTHER SIDE)
VISIGOTHIC HORSESHOE ARCH – ORIGIN OF
MOORISH ARCH
EMETERIUS,
THE TOWER AND
SCRIPTORIUM OF SAN
SALVADOR DE TÀBARA,
COLOPHON (FOLIO 168) OF
THE COMMENTARY ON THE
APOCALYPSE BY BEATUS
FROM TÁBARA, SPAIN,
970. TEMPERA ON
PARCHMENT
1” 2 1/8” x 10”. ARCHIVO
HISTÓRICO NACIONALE,
MADRID
WHAT’S GOING ON?
MONKS IN SCRIPTORIUM,
BELL RINGER
WHAT INFLUENCE(S)?
VISIGOTHIC AND ISLAMIC
STEPHANUS GARSIA, ENTHRONED CHRIST WITH 4
EVANGELISTS AND THE 24 ELDERS, FOLIOS 121 VERSO AND
122 RECTO OF THE APOCALYPSE OF SAINT-SEVER FROM
SAINT-SEVER-SUR-L’ADOUR, FRANCE © 1050-1070. INK AND
TEMPERA ON VELLUM 14 ½” X 22”. BIBLIOTHÈQUE
NATIONALE, PARIS
STEPHANUS GARSIA,
RAIN OF FIRE AND
BLOOD, FOLIOS 137
VERSO, APOCALYPSE OF
SAINT-SEVER