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Book of Hours: A prayer book for the laity that developed in late medieval Europe and that was used for private devotion. These works were often personalized for individual patrons and illuminated with miniature paintings depicting the life of Christ, the Virgin Mary, and individual saints.

Dyptch: A painting or relief carving made of two parts, which are usually joined by hinges

Triptych: A picture (such as an altarpiece) or carving in three panels side by side

Polyptych:  A painting or other two-dimensional artwork made up of more than three panels

Donors: The person who commissions and pays for the creation of a work of art. In religious art, donors are sometimes depicted within the work
Patrons:  The support that kings, popes, and the wealthy have provided to artists such as musicians, painters, and sculptors.

Grisaille: Painting technique by which an image is executed entirely in shades of gray and usually severely modeled to create the illusion of sculpture, especially relief

Intaglio: Any printmaking technique in which the image is produced by incising into the printing plate

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bridge between Gothic and Renaissance)

some Gothic characteristics
new naturalism
rich colors, materials
symbolism
many small details
aristocratic patrons, tastes
elegant figures, expensive dress
patterns, repetition

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Franciscan Order: Any member of a Roman Catholic religious order founded in the early 13th century by St. Francis of Assisi. The Franciscan order is one of the four great mendicant orders of the church, and its members strive to cultivate the ideals of poverty and charity.

Apron Scene:

Painted Altarpieces: work of art that decorates the space above and behind the altar in a Christian church. Painting, relief, and sculpture in the round have all been used in altarpieces, either alone or in combination. These artworks usually depict holy personages, saints, and biblical subjects.

Tempera: The technique of painting with pigments bound in a water-soluble emulsion, such as water and egg yolk, or an oil-in-water emulsion such as oil and a whole egg.

Fresco: a type of wall painting. The term comes from the Italian word for fresh because plaster is applied to the walls while still wet. There are two methods of carrying out fresco painting: buon fresco and fresco a secco. For both methods layers of fine plaster are spread over the wall surface.

Pulpit: A raised platform in a church, from which the sermon is delivered or the service is conducted.

Tau cross of St. Francis: It is called a “tau cross” because it resembles the shape of the Greek letter tau in an upper-case form, which looks similar to the Latin letter T. The tau cross is the emblem used by the Franciscan Order, founded by Saint Francis of Assisi

Republics: A government in which citizens elected representatives to rule on their behalf.
Duchies: A medieval country, territory, fief, or domain ruled by a duke or duchess, a ruler hierarchically second to the king or queen in Western European tradition.

Annunciation: It is a hallowed scene depicting the angel Gabriel announcing to the Virgin Mary that she would soon conceive a child born to be the son of God

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Pointed arches

Ribbed groin vaults

Flying buttresses

Nave

Transept

Crossing

Aisles

Ambulatory

Nave arcade

Gallery

Triforium

Clerestory

Compound piers

Westwork

Jamb statues

Cult of Mary

Gothic “sway”

Stained glass

Tracery windows

Rayonnant or Court Style

Flamboyant Style

Fan Vaulting (England)

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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Shorter; column clusters don’t go all the way up the wall (less upward thrust)

Horizontal divisions dominate

Ribs rise all the way from triforium level; create steep curve, clerestory tucked in among vaults (like Durham Cathedral—now by choice)

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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Double transept common in England

Apse different: not round, no ambulatory (no relics or pilgrims)

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Comparison=David Macaulay, Gothic Cathedral (6:05)

Gallery higher in proportion

Width narrower in proportion to height

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Nave and choir of cathedral of Notre-Dame, Chartres. ca. 1194–1220

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Nave and choir of cathedral of Notre-Dame, Chartres. ca. 1194–1220

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3 part nave elevation; what’s missing? (gallery)

Feeling of more vertical continuity

Shafts attached to the piers stress continuity of vertical lines; guide our eyes upward to the vaults

Best example of stained glass windows; still has most of its 180+ original windows

Transforms light (Byzantine mosaics reflected light)

Ethereal light dissolves physical solidity of church; merges temporal world with divine world; creates mystical experience for worshiper

colored glass held together by lead caning; also painting on glass (faces)

1939: locals took stained glass windows out of cathedral and put in a salt mine to preserve during WWII

Rose window; virgin underneath in center

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Plan=Notre Dame part 2 (3:24)Church burned down in 1194 (except western part); rebuilt the rest as high Gothic; built in 26 years (very fast); interpreted as w

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Plan of cathedral of Notre-Dame (as rebuilt after 1194), Chartres

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Plan of cathedral of Notre-Dame (as rebuilt after 1194), Chartres

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New kind of religious image; meant for contemplation

Painted wood

Pieta=sorrow (pity as well as piety) : gut-wrenching; German expressionism

Emphasizes personal relationship with God; wants us to share horror of Christ’s suffering and identify with grief of Mary

Encourages Compassion (“to suffer with”)

Roots in past (compare with Ottonian Geru crucifix; weightier, more physical than Carolingian)

Left: Virgin with Dead Christ (Rottgen Pieta) Goth

Right:Michelangelo. Pietà. ca. 1498

Similarities: Both of the sculptures were done in a triangle form. Both Mary’s are looking at the dead Christ. Both Mary’s are seated. Both sculptures are The Virgin and the dead Christ. They are both showing the body of Jesus on the lap of his mother Mary after the Crucifixion.

Differences: The Christ in the Rottgen Pieta is looking toward us while the Christ in the Florentine Pietà is looking at his Mother Mary. There are some decorations on the base of the Goth one and not on the one from the renaissance. The one from the Renaissance is more full, more real life looking. The Florentine Pietà is made of Marble and is 174 cm × 195 cm (68.5 in × 76.8 in) while the Rottgen Pieta is made of wood and is 34.5in (87.5cm) high.

Conclusions: Both the Goth and the renaissance were trying to show the best way to depict Christ along with the Virgin. They are both pretty good works of art. They both caught the Mother Virgin’s countenance as very sad and mourning for her Son.

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Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

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Ekkehard and Uta, Naumburg cathedral. ca. 1249–55

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Donors—honored as examples for funding 11th-century cathedral (new fundraising campaign; wanted to encourage new donors)

From the past, but individualized as if portrayed from life

gestures, gazes give human quality

Painted; outdoor sculptures were painted, too, but paint rarely survives

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Chapel of Henry VII, Westminster Abbey, London. 1503-19

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Chapel of Henry VII, Westminster Abbey, London. 1503-19

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Fan vaulting—architectural pageantry; complex vault patterns unrelated to structure of walls or vaults but have life of their own; obscure rather than clarify architecture

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris Salisbury Cathedral, ca. 1320-30 

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1 huge transept tower instead of two west towers

Cloister (usually with monastery)

Lower and broader, but longer (long, low, sprawling look)

Flying buttresses not really needed; just for show

More spread out—park like

Façade is wider than church; like a screen

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Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70 

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Melchizedek and Abraham, from the Psalter of St. Louis. 1253–70 

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Abraham paying tithes to Melchizedek, but in Gothic chain mail, in front of Gothic cathedral

(like statue in Reims Cathedral)

Abraham and troops: crusader armor (holy by association); Louis organized two crusades and died in one in Tunisia

Gold background; painted architecture modeled after Sainte-Chapelle; looks like niches

Heavy dark outlines like stained glass (lead strips)

“court style”;“elegant style”: sway, graceful, smiling; exemplifies refined taste of the court art in Paris

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Cathedral of Notre-Dame, Paris, ca. 1200-50

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Cathedral of Notre-Dame, Paris, ca. 1200-50

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Emphasis on harmony, geometric order, and proportion (relation to divine; all things measured)

Façade still heavy but lightened by lace-like stonework everywhere and window perforations

3-part nave elevation: nave arcade, gallery, clerestory
Point out: westwork, crossing tower, transept, flying buttresses

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside

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Bishop of Chartres friend of Abbot Suger; shared ideas

West façade always last to be built; Romanesque building with Gothic western façade

Notre Dame=our lady (of Chartres); dedicated to Mary (height of cult of Mary); relic: cloak worn by Mary—not destroyed by fire (miracle) in 1194

Most of church burned down except western façade; rebuilt as high Gothic

School- important center of learning; focused on liberal arts
solid limestone
plate tracery- circle thingy
the decoration above the door
rainbow=archivoilts
inner rainbow= tympanum

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Abbey church of Saint-Denis, France. 1140–44 

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Abbey church of Saint-Denis, France. 1140–44 

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Saint=Smarthistory: Birth of the Gothic (5:17)*

open! Continuous space outlined by slender arches, ribs, and columns

Pointed arch could be stretched to reach any desired height regardless of the width of its base; more flexible

Light in two ways; looked light in weight and let in light of the sun

Allowed for more stained glass

Gothic period started with one man at one church

St. Denis in Paris: St. Denis was medieval bishop who was a martyr by beheading; his remains in crypt in basement

Important Carolingian church; where Charlemagne and his father were consecrated as kings

Abbot Suger wanted to make it spiritual center of France and to form alliance between the French monarchy and the Church; remodeled church to make bigger and grander

New geometric order: 7 wedge-shaped units fan out from apse center; chapels not separate but continuous space

Ambulatory: new—one big open space; dedicated June 11, 1144; concern with light; raise our minds from slime of earth to heavenly Jerusalem

Light in two ways; looked light in weight and let in light of the sun (allowed for more stained glass)

Supporting buttresses between chapels (look like arrows) support outward pressure of vaults; interior appears light and airy

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Abbey church of Saint-Denis, France. 1140–44 

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Abbey church of Saint-Denis, France. 1140–44 

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Burial place of the royal family. the chapels were opened up instead of being small rooms. pointed vaulting- takes the weight off the vaulting and pushes it down. Believed light could connect us to the divine.

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Hieronymus Bosch, The Last Judgment, c. 1482

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Hieronymus Bosch, The Last Judgment, c. 1482

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closed St. Bovo is associated with the northern city of gent.
St. James on the other side associated with pilgramage

unfolds like a story. battle in heaven.`

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Martin Schongauer, St. Anthony Tormented by Demons, c. 1480-90

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Martin Schongauer, St. Anthony Tormented by Demons, c. 1480-90

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Rogier van der Weyden. Descent from the Cross . ca. 1435 

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Rogier van der Weyden. Descent from the Cross . ca. 1435 

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7 feet tall 8 feet wide
heavy drapery, texture, great detail.

very shallow small space. great emotion. Christ's body replicates Mary's, creating a wavelike movement.

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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Jan van Eyck. The “Arnolfini Portrait.” 1434 

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focuses on wealth. True meaning is unknown. The mirror has great detail of Christ. He created it using multiple thin oil strokes.

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Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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Jan van Eyck. Man in a Red Turban (Self-Portrait?). 1433 

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 Hubert and Jan van Eyck. Ghent Altarpiece closed

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 Hubert and Jan van Eyck. Ghent Altarpiece closed

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 Hubert and Jan van Eyck. Ghent Altarpiece  open

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 Hubert and Jan van Eyck. Ghent Altarpiece  open

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coveted by the Nazi's

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Robert Campin and workshop. Mérode Triptych . ca. 1425–30 

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Robert Campin and workshop. Mérode Triptych . ca. 1425–30 

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shine and shadow.
2 feet tall. Ment for prayers. Details on ER' THANG! Oil paint= more detail. Great detail on the drapery. Interest in realism. An aid in private devotion. Oil on a panel of wood.

Subject in center? Compare and contrast with Melchior Broederlam’s altarpiece (next slide)

Difference in setting? House interior; effect? brings supernatural event to everyday life (not painted for a church but for fellow citizen--25”x25” ); brings sacred  to terms we can understand; bond between patron and Biblical figures

What do you think of the perspective?  (overly foreshortened, different points of view)

Attention to detail; equality of attention to every detail; every object can have symbolic significance (reason for intense study of everyday objects): candle/Christ, lilies/purity; vessel/Mary as pure vesse (holds pure water for cooking; Mary holds the pure “Living Water”l; mousetrap;cross (St. Augustine); disguised symbolism

Names of Donors: Peter Ingelbrecht (angel bringer) and Scrynmaker (shrine or cabinet maker)

Shows city scenes of Liege

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National Gallery, London
holds a banner of st. George

King Richard II (England) and patron saints kneeling before the Virgin Mary, Jesus, and Angels (wearing badges with emblems of King Richard)

Gothic? gold background, haloes, flat space, floating feet

International Gothic: sumptuous materials, elegance, patterns, repetition (wings, color, robes, faces), details in flowers

Contrast in colors=heavenliness?

Smarthistory video

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Limbourg Brothers. January, Les Très Riches Heures du Duc de Berry. 1413–16

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Limbourg Brothers. January, Les Très Riches Heures du Duc de Berry. 1413–16

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One of the first artists in the North to introduce atmospheric perspective'
part of a prayer book
the style is set apart by Rich materials, elegant figures, naturalistic details

Manuscript painting--Book of Hours: collection of prayers for certain times of day; also calendar pages listing religious feast days; first available to aristocracy and later to other affluent people

3 brothers (Pol, Herman, and Jean de Limbourg); died in 1416 (probably of the plague; same year as Duke) and left unfinished; uncle was Jean Malouel, painter of Claus Sluter’s Moses Well and court painter to the Duke of Burgundy

For Duke of Berry, brother of Duke of Burgundy and King Charles V of France

International Style: elegant, sumptuous materials (gold, blue), expensive dress; details of patterns, textures; dogs on table, salt cellar

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Claus Sluter. The Well of Moses, 1395–1406

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Claus Sluter. The Well of Moses, 1395–1406

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Used to have a cross on top.

privileges: bridge between Gothic and newer naturalism of 15th century (continued refined forms of Gothic art but seeds of naturalism

6 prophets: Moses, David, Jeremiah, Zachariah, Daniel, and Isaiah; each prophesied of the death of Christ (scrolls represent); crucifix scene above showed fulfillment of OT prophecy (destroyed during French revolution—anti aristocracy);

Gothic: sculpture in niche (like cathedrals), Biblical theme, symbolism;  New naturalism: expressive, individualized faces; specific details-- bronze spectacles (Jeremiah); interactive; gestures, emotional urgency

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Attention to detail
Religious symbolism
Naturalism
Oil paint: subtle effects of light and dark,   modeling, greater details, glowing colors
Art can be owned by middle class (especially   prints)
Mostly religious, also portraiture
Details of modern life (cityscapes, interiors, etc.)
Fantastical creatures/demons (Bosch,   Schongauer)

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Ambrogio=Smarthistory: Allegory of Good and Bad Government (10:18)

Portrait of Siena; everyone busy, productive, harmonious (dancing in front)

First true landscape since medieval times; orderly hillside, fruitful nature, peasants work in harmony, safety all because of justice and good governing

First 3 decades of 14th century were stable; in 1340’s catastrophes: warfare, bankruptcy, crop failures, famine, and then bubonic plague in 1348

Wiped out more than half of populations of Florence and Siena

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Cha
Buon fresco: paint on wet plaster, bonds; but not blue; lapiz lazuli expensive; Enrico wanted to show its brilliance so put on secco fresco (dry fresco); didn’t last

Modeling of figures new! Shows bulk

Earthly setting; not gold, shows ground

ncel wall

God the Father in a frame at top, overseeing events below: part of his plan

Annunciation scene

Betrayal of Judas and Visitation

Interior of chapel with believable space

Next to each scene are OT scenes or prophets that prefigure the NT events

Faux marble like Roman stone work

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

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Giovanni Pisano. Nativity, detail of pulpit. 1302–10. Marble. Pisa cathedral

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Giovanni Pisano son of Nicola

Also part of a pulpit; Same story (nativity, angels and shepherds, symbolic bathing of Christ);

Differences? Focuses on landscape, animals;

higher relief (more deeply carved), thus more darks and lights, rounder; less crowded; also more action

Mary: young mother rather than dignified matron

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Nicola Pisano. Nativity, detail of pulpit

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Nicola Pisano. Nativity, detail of pulpit

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Nativity; midwives bathing Christ below (symbolic of baptism);

Joseph gazes with wonder

Left top corner: Annunciation

Crowded, looks like Roman sarcophagus

Mary looks like a Roman matron; dignified

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Ambrogio Lorenzetti. Allegory of Bad Government, Palazzo Pubblico, Siena. 1338–40

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Ambrogio Lorenzetti. Allegory of Bad Government, Palazzo Pubblico, Siena. 1338–40

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Unlike many works of medieval art, the Allegory and Effects of Good and Bad Government is a
b. Secular
work of art.

Brother of Pietro Lorenzetti

Walls of palazzo of Siena, where laws were made; shows happy people, peace (propaganda)

How to govern, how to be a good citizen—civic-minded

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Student of Duccio in Siena; medieval frame not original; meant to be placed near Duccio’s Maesta

Gentle gestures; had seen French Gothic mss painting

Lilies—emblem of purity of virgin

Words: “Hail Mary, full of grace, the Lord is with you”

(the word became flesh; words going into Mary’s ear become son of God

Like Giotto: reduces story to simplest terms

Like Duccio: lyrical elegance; spiritual realm emphasized over physical realm

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 Duccio,Annunciation of the Death of the Virgin, from the Maestà Altar.    Museo dell’Opera del Duomo, Siena 1308-10

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 Duccio,Annunciation of the Death of the Virgin, from the Maestà Altar.    Museo dell’Opera del Duomo, Siena 1308-10

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Annunciation of Death of Virgin (angel Gabriel returns to again Mary to warn her of her impending death): attempt at space, foreshortening (beams); figures framed by architectural space

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Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

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Duccio. Madonna Enthroned, center of the Maesta Altar. 1308-11

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polyptch- many panels
Duccio from Siena (neighboring city, competition; victory against Florence in 1260; took virgin Mary as protector/patron
panel painting
creates a since pf volume.

To celebrate, commissioned Duccio to make a huge altarpiece

“Greek Manner” (Byzantine)—tempera on panel; richer colors than fresco

Combines with some space (knee, throne)

Compare with Cimabue (next): Duccio relaxes rigid, angular draperies; softer, more 3-D; modeling of light

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Arena (Scrovegni) Chapel, Padua. 1305–06 

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Arena (Scrovegni) Chapel, Padua. 1305–06 

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between scenes are trompe l'oeil (trick of the eye) faux maeble panels
Palace chapel—connected to Scrovegni Palace (located on site of former Roman arena)
painted God in using panel painting not frescoe

One-room hall covered with barrel vault; built to be Scrovegni’s burial chapel

Scrovegni: banker; worry about connection to usury (charging interest); built chapel as a good work to atone for usury (Enrico Scrovegni in Last Judgment scene handing church to 3 Mary’s—on right side)

Floor to ceiling fresco with three registers (even illusionistic marble panels): Cycle of Mary’s life (top), Christ’s life (middle), Christ’s passion (death and resurrection (bottom)

Altar wall: Anunciation

Back wall: Last judgment (as you leave); take these things seriously; you will suffer according to your sins

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Where earlier works of art engage us with the embellished splendor of the heavenly, Giotto’s paintings capture our attention by representing holy figures and stories as if in a majestic but earthly realm. Bold modeling of draperies and the bodies beneath them gives his figures greater volume and a sense of sculptural relief. Clever kinds of perspective create the illusion that a space is opening up in front of the viewer, as if we might be peering onto a stage.
Giotto student of Cimabue:

-Body shows beneath clothing, more physical solidity (except flat haloes)

-Loved gold and pattern of Byzantine, but leans to classical tradition of figure
-tempera (egg-based paint)
Compare:
Loved gold and pattern of Byzantine, but leans to classical tradition of figure

-illusion of space

Body shows beneath clothing, more physical solidity (except flat haloes), modeled in light; gradation of lights and darks; space more defined, solid

light and shadow. use of dimension
Angels kneeling suggest space further; also overlapping saints

Illusionistic textures shows familiarity with ancient roman painting

contrast
smaller
produced last
real modeling from light to dark
-more modeling in face
-one fixed perspective

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Cimabue’s paintings showed more interest in depicting space and modeling figures with gradations of light and shade. These ideas spread as artists travelled throughout Italy and southern France in search of work, creating a network of artistic centers that all exerted influence on one another.
Cimabue=bull’s head; stubborn; from Florence
increased naturalism

Byzantine: gold, long nose, frontal, solemn expression

Loved Byzantine color, but 3-D throne—shows space

Which trend?

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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Andrea Pisano. South doors, baptistery of San Giovanni, Florence. 1330–36

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New pair of bronze doors for baptistery at Florence

3rd Pisano—not related (also from Pisa)

Life of John the Baptist (patron saint of Florence)

Part medieval (Gothic quatrefoil frames) part classical

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Arnolfo di Cambio. Florence Cathedral. Begun ca. 1294 (nave, plan)

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Roman roots; only vague reference to Gothic: basilica plan, proportions broad instead of vertical, wooden trussed roof;

Gothic:pointed arches

Leading and largest Franciscan church (on the east side of town); Basilica plan; burial place of Michelangelo and Galileo (and other famous Italians)

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Nicola Pisano. Pulpit. 1259–60 (plus reliefs by Nicola and Giovanni Pisano)

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Nicola Pisano. Pulpit. 1259–60 (plus reliefs by Nicola and Giovanni Pisano)

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-3 Pisanos (means from Pisa): we know artists’ names!

-Pulpit=stand for preaching; hexagonal, marble

-Inside baptistery in Pisa; 15 feet tall

-Blends medieval ideas with modern

-Classical: columns, Corinthian capitals

-Medieval: columns on backs of animals; trefoil arches

-Modern: carvings—classical look
-preachers would preach there
- figure on column influenced by classical art and it's content
giovani-great expressions

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Italians loved big painted altarpieces; egg-based tempera

St. Clare female counterpart of St. Francis of Assisi; made for Franciscan convent (called Poor Clares; founded by the noblewoman Clare, who was later canonized)

Byzantine influence! Frontal, elongated, gold, large halo, large eyes, long Byzantine,flatness

Vignettes at side (apron scenes): stories of her service

2 trends in Italian painting: ties to roman past (classical) and ties to Byzantine empire: 4th crusade: invaded Constantinople instead of Jerusalem; brought back Byzantine art to Italy

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Vault forms: (a) arch; (b) barrel vault; (c) groin vault;

(d) ribbed groin vault; (e) dome

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Revival of monumental stone sculpture important development during Romanesque period; mostly small scale in early medieval

Continued influence of Celtic-Germanic and Byzantine styles in painting and sculpture; flat, hardly relief; just carved out

Christ on center with 2 semicircles=mandorla; heaven and earth (Christ presides over both realms); like body halo

6 apostles in arched niches; heads fit in arches; individual features but very stylized; balance between structure and decoration just like in buildings

Hiberno-Saxon interlacing; dependence on line for details in face, drapery; resembles earlier decorative arts in ivory and metalwork

Decorative details like metalwork: beading (see below); carvers found inspiration in what sculptural work there was

Vaguely classical columns

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No central political authority (feudalism), but central spiritual authority of the pope acted as a unifying force throughout Europe

Growth in population and ability to travel because of  trade, crusades, pilgrimages to visit holy relics

Pilgrimages: arduous travel part of allure

1st choice: Jerusalem (controlled by Muslims); Crusades

2nd choice: Rome; Saints Peter and Paul buried there

3rd choice: Santiago de Compostela (Santiago=St. James)

legend: taught in area of Spain; received vision; virgin Mary told him to go back to Jerusalem; martyred in Jerusalem by Herod Agrippa (grandson of Herod the Great); body put on boat, washed up at Compostela

Pilgrimage route=better roads, spreading of ideas, buildings along the way, economic growth

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Animal Head, from the Oseberg burial ship. ca. 834

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Animal Head, from the Oseberg burial ship. ca. 834

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5 wooden posts decorated with monsters

Head on one of the posts

Interlacing carved

Did Vikings wear horned helmets? No! Artistic device later

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Doors of Bishop Bernward, Hildesheim cathedral (originally made for abbey church of St. Michael’s, Hildesheim), Germany. 1015

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Doors of Bishop Bernward, Hildesheim cathedral (originally made for abbey church of St. Michael’s, Hildesheim), Germany. 1015

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-overlapping feet!
-Expressive, gestural (becomes typical of German art up into 20th-century (German Expressionism)

-Doors=Smarthistory: Bronze Doors, St. Michael’s, Hildesheim, commissioned by Bishop Bernward, 1015 (4:23)
Bishop Bernward's bronze doors was cast using the lost wax process.

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Cloisonné: Technique of creating designs on metal vessels with colored-glass paste placed within enclosures made of copper or bronze wires, which have been bent or hammered into the desired pattern.
Illuminated Manuscript: hand-written books with painted decoration that generally includes precious metals such as gold or silver
Initial page: The initial letters of an important gospel passage are enlarged and transform into decorative patterns.
Carpet page: A term used to describe pages in illuminated manuscripts that contain little or no text and are instead filled with decorative motifs.
Miniaturist: A small illustration used to decorate an ancient or medieval illuminated manuscript
Scriptoria: A place where books were copied and illuminated (painted)
Codex:  A manuscript book especially of Scripture, classics, or ancient annals
The Four Evangelists: Matthew, Mark, Luke, and John, the authors attributed with the creation of the four Gospel accounts are anonymous
Westwork: An entrance area at the west end of a church with upper chamber and usually with a tower or towers

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Jesus Washing the Feet of St. Peter, from the Gospel Book of Otto III. ca. 997–1000

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Jesus Washing the Feet of St. Peter, from the Gospel Book of Otto III. ca. 997–1000

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Gospel Book of Otto III has many illustrations of life of Christ

gold background Byzantine

Classical background (classicism via Byzantine influence)

Story told through glances and gestures; also hieratic scale (jesus’ active arm longer than passive arm)

Even toes active

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Manuscript pages from the Gospel of Otto III, 997-1000

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Manuscript pages from the Gospel of Otto III, 997-1000

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-Commissioned for Otto III by his parents;

-Symbols of status as HRE: crown, eagle sceptor, orb with cross; lions on throne; political and spiritual leader (two domains)

-4 women=4 provinces; same pose as magi on gown of Theodora (also shows total authority)

-Mixes Byzantine influence

-died in early 20’s: end of Ottonian empire

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St. Michael’s Hildesheim, Germany (exterior, plan, doors)

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St. Michael’s Hildesheim, Germany (exterior, plan, doors)

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Benedictine abbey church of St. Michael’s (monastic church)

Two transepts with central towers; stair turrets at each end

Division into threes (sections of transepts, supports of nave arcade

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Front cover of binding, Lindau Gospels. Ca. 870

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Front cover of binding, Lindau Gospels. Ca. 870

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Lindau=Smarthistory: Lindau Gospels Cover (6:01)

Gold cross and Christ

Colored gems—raised on clawed feet or turrets; light can penetrate from beneath to bring out full brilliance (valuable!) raised stones also protect relief figures in repousse (tooled from underneath) when book is opened

Reliefs have same energy (Reims style); expressive; but Christ has no expression, seems to stand

The figures are examples of Repoussé which is a metalworking technique where the artist hammers out the image on the reverse side.

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims. Ca. 816-35

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims. Ca. 816-35

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Swirling energy, frenetic lines; caught in a Rexburg wind?

Matthew seized with frenzy of divine inspiration

Acanthus leaves like flames; abbreviated

Unique! Book says it recalls endless interlaced movement of animal style; (

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St. Matthew, from the Gospel Book of Charlemagne (Coronation Gospels). ca. 800-10

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St. Matthew, from the Gospel Book of Charlemagne (Coronation Gospels). ca. 800-10

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?). 9th century

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?). 9th century

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Charlemagne or Charles the Bald (his grandson)

Horse is his throne; orb=domination of the world

Moustache—Barbarian

Wears fibula on cloak

Roman models?

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768 Charlemagne became king of Franks and established a new empire that dominated northern Europe (continental)

800 became Holy Roman Emperor (named by Pope Leo III in Old St. Peter’s basilica in Rome on Christmas day: successor to Constantine, first Christian emperor)

Goal: wanted to bring back glory of ancient Rome but in a Christian context

wanted to clean up text of Bible; recognized that mistakes had crept in with copying; gathered scholars to make a master copy

wanted to standardize letters, punctuation to make things more clear to read and correct

wanted to educate varied societies (clergy) under his reign to worship properly; set up schools in monasteries; 1000’s of manuscripts produced

Center in Aachen (now Germany; close to France, Belgium, Netherlands)

Period of Charlemagne and his successors=Carolingian (Carolus Magnus=Charles the Great)

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Chi Ro Iota page, from the Book of Matthew, Book of Kells, ca. 800

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Chi Ro Iota page, from the Book of Matthew, Book of Kells, ca. 800

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Most elaborate codex of Celtic art

First letters of name of Christ

Literacy rare and class-based; books symbols of authority; mystifying for outsider

Not as geometrical as lindsifarne gospels; humans for first time

Face at top of chi? 3 angels with wings?

Head at end of ro (p) (Christ?)

Cats and mice, butterflies, otters catching fish; original I Spy

Powerful connection with viewer (like icons)

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Originally had a wooden roof; replaced around 1120 with ribbed groin vault

Compound piers soar all the way up and flow into Ribbed groin vaults; sexpartite (6 parts); ribs compose a structural skeleton that supports paneling between them

Airy lightness; able to put in clerestory level above gallery

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Begun by William of Normandy (the Conqueror) in 1068; buried there in 1087

Westwork: imperial church

Vertical thrust starting with 4 buttresses, then towers; 3 vertical sections (groups of threes throughout; find them)

No portal decoration like most Romanesque churches

Founded by William the Conqueror after invasion of England in 1066; took over 100 years to complete

Normandy: NW France; Normans=Norsemen=Vikings

Ribbed groin vaults; from Durham Cathedral; now six sections (sexpartite groin vault)with simple ribs; has a lighter, airier feel

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Durham Cathedral, England. 1093-1130 transverse section

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Durham Cathedral, England. 1093-1130 transverse section

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Quadrant arch; buttressing made possible to span larger spaces, taller

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Durham Cathedral, England. 1093-1130 nave

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Durham Cathedral, England. 1093-1130 nave

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Durham=Durham Cathedral (8:00; watch 5:20-about 7)

Norman church surrounded by natural moat of the Wear River near Scotland border of England

One of the largest medieval churches in Europe; 3-story nave

Compound piers rise up to ribbed groin structure; decorated with chevrons, diamonds, and spirals; cushion shaped capitals (all originally painted)

Ribbed groin vaulting new; earliest use over 3-story nave

Ribs provided stable skeleton for the groin vault; could make stonework in between lighter

Outer wall: buttresses to support weight (see next slide)

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Durham Cathedral, England. 1093-1130 plan

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Durham Cathedral, England. 1093-1130 plan

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New: ribbed groin vaulting (dotted line on plan)

7 sections formed by 2 x’s

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Not really tapestry but embroidery on linen;

230 feet long; continuous narrative; records events leading up to 1066, when William the Conqueror of Normandy (France) conquered England (claimed the throne at death of King Edward the Confessor)

Harold (Anglo-Saxon earl) and William (duke in Normandy) both thought they had right to the throne

Historical event—Roman idea (like column of Trajan)

Figures tall, thin, weightless

Energy, movement (somersaulting horses), detail, linear clarity

Who embroidered? Credited to English needlewomen, famous during Middle Ages for their skills

Combines narrative and ornament (top and bottom margins; like manuscripts)

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Speyer cathedral, ca. 103-61; vaulted interior

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Speyer cathedral, ca. 103-61; vaulted interior

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ca. 1080-1106

1080 Rebuilt using groin vaults (one of first) allows a lot of light; channeled thrust onto 4 corners; allowed for open space under each arch (windows) without diminishing strength of vault

Breakthrough in building technology (on large scale—already knew how to do it); but daring on this scale)

One of earliest fully vaulted Romanesque churches in Europe

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Baptistery of San Giovanni, Florence, Italy. 

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Baptistery of San Giovanni, Florence, Italy. 

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Ca. 1060-1150

Octagonal baptistery opposite cathedral;

8 sides traditional for baptistery: rebirth; world began on 8th day following creation, Christ resurrected on 8th day of the Passion

Green and white marble typical of Romanesque in Italy; geometric

Triple arches classical in proportion, detail (center of Italian Renaissance; haven’t really lost ties to classicism)

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Baptistery, cathedral, and campanile. Pisa, Italy. 

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Baptistery, cathedral, and campanile. Pisa, Italy. 

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1053–1272

1st built: cathedral began 1053 to celebrate victory over Muslim forces

(looks Early Christian; close to Rome, more conservative); Italian architects never adopted the vertical emphasis of northern architecture; what makes it Romanesque?

wide transept, dome over crossing, marble incrustation, multiple arcade galleries of the facade

2nd built: baptistery began 1153; everything above first level reworked during Gothic period

3rd built: campanile (bell tower) began 1174; poor foundation, began to  lean even before it was completed; most famous Italian Romanesque monument

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Mouth of Hell, from the Winchester Psalter. Winchester, England. 

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Mouth of Hell, from the Winchester Psalter. Winchester, England. 

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ca. 1150

Produced in a scriptorium in Winchester, England

The gaping jaws of hell

“Here is hell and the angels who lock the doors.”

Churches served to protect from dark forces but also instilled fears in members (last judgment scenes, etc.)

Monsters like at St. Pierre, Moissac

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. 

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. 

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ca. 1147

Inkwell held by Abbot Wedricus in medallion; integration of main scene with border designs--interdependent

Knife in one hand to sharpen quill

Gold background and linear quality=Byzantine

Tight design, decorative patterns=Celtic-Germanic

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Trumeau and jambs, south portal, church of Saint-Pierre, Moissac

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Trumeau and jambs, south portal, church of Saint-Pierre, Moissac

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Prophets (Isaiah faces Jeremiah); prophesies destruction at end of the world; on opposite side NT prophets Peter faces Paul (pairing of OT and NT symbolized fulfillment of law of Moses in Christ’s coming)— “spidery”

Long, twisting body; why leg crossed?

Crossed Lions on front of trumeau: animate like in interlacing animal style; also surface decoration

Guard entrance; also to terrify and to encourage to refrain from sin

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. 

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. 

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Ca. 1120-35

The Last Judgment (most awe-inspiring subject in Christian art); weighing of souls; separation of saved from the damned

Christ large, dominates; under feet it says Giselbertus hoc fecit (made this)

4 angels in corners sound trumpets of the Apocalypse (where)?

Bottom: dead rise from graves

Far left: saved cling to angels to take to heaven; far right: damned are cast into the mouth of Hell, seized by grinning devils

Twisted, agitated, energized

One would enter feeling chastened

Judicial proceedings took place here; actual judgment by ordeal; accused had to withstand grueling physical tests to prove innocence

Above on archivolt: zodiac signs/labors of the months: puts last judgment on earthly time

“Romanesque imagination heated by a fearful faith”; makes one aware of the greatness of god and the littleness of man

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South portal with Second Coming of Christ on tympanum, church of Saint-Pierre, Moissac. 

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South portal with Second Coming of Christ on tympanum, church of Saint-Pierre, Moissac. 

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ca. 1115-30

spaces around doors became place for sculpture; related to architecture, sent message on entrance; entering church becomes a rite of passage (you have finally arrived)

On pilgrimage road to Santiago de Campostela

Typical Romanesque portal  (vocabulary next slide)

Revelation 4:2-7; surrounded by four beasts of the apocalypse, two angels, 24 elders;

Wavy line under feet= “the sea of glass like crystal”

Activity, energy, abstraction; fits scallop in jambs (sides of doorway) and trumeau (center support)—Islamic device

4 evangelists: energetic, twisting forms; jerky movement

Drapery takes on life of its own; energy

Message? Be good or else (Christ is judge)

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 outside

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 outside

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Upper gallery to hold overflow

All parts integrated into the whole

Compound piers again with 4  colonnettes that articulate structure

One problem: light; No clerestory (problem with tall barrel vaults: exert outward push at springing):

Emulates nobility and grandeur of Roman architecture

Progressed to east end

Apsidioles (apse-like chapels around apse) held relics

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 inside

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 inside

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Pilgrimage plan church

Journey through church like longer journey: station to station

Enter at west end into narthex (foyer)

Aisles could be walked through even during religious ceremony; make your way towards the east

New: longer nave to hold more people, ambulatory around apse so you could walk all the way around and visit apsidioles containing relics

Mathematical modular units: bays of nave and transept half of crossing; bays of aisles half size of nave bays and ¼ size of crossing; geometric organization

Cross

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Nave and choir, church of Sant Vicenc, Cardona, Spain.

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Nave and choir, church of Sant Vicenc, Cardona, Spain.

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ca. 1029-1040

Amazing increase in building activity—to accommodate for pilgrimages/veneration of relics

Cardona in Pyrenees of northwest Spain (see map above)

Needs: more space for visitors

needed to be fireproof: basilica planned churches had wooden trussed roofs; many destroyed by fire by marauders in earlier centuries

What’s different? stone barrel vaults instead of wooden truss roof; advantages?

larger, wider, taller

less risk of fire

better acoustics

Romanesque means Roman-like (mostly in architecture)

arches and barrel vault: Roman-like (Romanesque); but concrete technology lost (cut stone)

Distinct projections on piers (compound piers); support different parts; vertical emphasis, gives unity and harmony; major innovation of Romanesque

Units of space called bays

Overall effect: massive, strong, protective; limited light

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Pilgrimage: A context for the interactions between pilgrims, people involved in the devotional practice of pilgrimage, and the art and architecture they encountered
Santiago de Compostela: One of the most important cathedrals in European history. The church is built on the burial place of St. James the Greater, who was an apostle of Jesus and traveled all the way to the Iberian Peninsula to spread the gospel
Barrel Vault: A simple roof having a curved, often semicircular, cross section used to span large distances in railway stations, churches, etc, and usually supported on columns
Compound Piers: Feature of a nave arcade designed for the support of arches and to bring arch and pier into harmony
Bays: Any division of a building between vertical lines or planes, especially the entire space included between two adjacent supports
Apsidiole: a small apse specifically : one of the smaller or secondary apses in a church having several apses
Ambulatory: A semicircular or polygonal aisle
Transept: A rectangular area which cuts across the main axis of a basilica-type building and projects beyond it
Crossing: The area in a cruciform church where the transept intersects the nave
Narthex: An architectural element typical of early Christian and Byzantine basilicas and churches consisting of the entrance or lobby area, located at the west end of the nave
Nave: The central longitudinal space of a bascilican church
Reliquary: A container for relics. Often reliquaries were in the form of caskets, though it was quite common for them to be shaped like statues or like body parts
Cloister: Part of a monastery; a quadrangle surrounded by covered passages
Tympanum:  The area enclosed by a pediment, whether triangular or segmental
Trumeau: A central pillar supporting the tympanum of a large doorway especially in a medieval building
Jamb: A vertical element of a doorway or window frame
Groin Vaults: A vault produced by the intersection at right angles of two barrel (tunnel) vaults
Campanile: A bell tower, usually built beside or attached to a church
Mandorla: Italian word for almond. In painting or sculpture the term is used to describe the almond-shaped enclosure which is sometimes depicted around Christ or the Virgin Mary

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Mihrab-a niche in the wall of a mosque, at the point nearest to Mecca, toward which the congregation faces to pray.

Qibla Wall- the direction of the Kaaba shrine in Mecca toward which all Muslims turn in ritual prayer.

Kufic Script-is a style of Arabic script that gained prominence early on as a preferred script for Quran transcription and architectural decoration

Minaret-a tall slender tower, typically part of a mosque, with a balcony from which a muezzin calls Muslims to prayer.

Horseshoe arches-Horseshoe arches can take rounded, pointed or lobed form.

Voussoirs-a wedge-shaped element, typically a stone, which is used in building an arch or vault.

Iwan-An iwan is a rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open

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Taj=10 facts about Taj Mahal

Meaning: “Crown of Buildings”

Symmetrical; contributes to calm, imposing impression

4 waterways, signifying paradise and its 4 rivers

Royal tomb in Agra, India

Commissioned by Shah Jahan in memory of his deceased wife Mumtaz Mahal

White marble inlaid with colored stones in the form of flowers, vines, and calligraphy

Formal garden with 4 pools

Inscriptions suggest gardens of Paradise; domed buildling evokes throne of god; earthly version of divine paradise

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Reconstruction of Old St. Peter’s, Rome, Italy, as it appeared ca. 400 CE (after Krautheimer)

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Reconstruction of Old St. Peter’s, Rome, Italy, as it appeared ca. 400 CE (after Krautheimer)

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made center taller; clerestory windows;

Largest Constantinian church; Why Old St. Peter’s? torn down to make present St. Peter’s Basilica in Rome; drawings and literary sources exist

Stood directly over tomb of St. Peter; martyrium=building that holds remains or relics of holy person

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Plan of Old St. Peter’s, Rome, Italy. ca. 324–400 CE (after Frazer

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Plan of Old St. Peter’s, Rome, Italy. ca. 324–400 CE (after Frazer

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In Rome: Christian church is made official, but nowhere to meet

Several Christian churches built under Constantine’s reign: shows legitimacy of Christian faith (no longer only in private homes)

Modeled after Roman basilica (made for public gatherings); good design for lots of people to gather (3000-4000 people); also associations with imperial Rome gave legitimacy

Roman ideas: Long nave flanked by aisles;

Made entrance at west end rather than the side; new focus of altar at east end (reminds us of Roman god Apollo) (not sacrifices for the gods but the holy Eucharist (Sacrament)

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As Christianity gained converts, these new Christians had been brought up on the value of images in their previous cultural experience and they wanted to continue this in their Christian experience. The theme of death and resurrection was represented through a series of images, many of which were derived from the Old Testament that echoed the themes. For example, the story of Jonah—being swallowed by a great fish and then after spending three days and three nights in the belly of the beast is vomited out on dry ground—was seen by early Christians as an anticipation or prefiguration of the story of Christ's own death and resurrection. Images of Jonah, along with those of Daniel in the Lion's Den, the Three Hebrews in the Firey Furnace, Moses Striking the Rock, among others, are widely popular in the Christian art of the third century, both in paintings and on sarcophagi.

One of the major differences between Christianity and the public cults was the central role faith plays in Christianity and the importance of orthodox beliefs. The history of the early Church is marked by the struggle to establish a canonical set of texts and the establishment of orthodox doctrine. Questions about the nature of the Trinity and Christ would continue to challenge religious authority. Within the civic cults there were no central texts and there were no orthodox doctrinal positions. The emphasis was on maintaining customary traditions. One accepted the existence of the gods, but there was no emphasis on belief in the gods.

Ancient philosophy was influential in the formation of Christian theology. For example, the opening of the Gospel of John: "In the beginning was the word and the word was with God...," is unmistakably based on the idea of the "logos" going back to the philosophy of Heraclitus (ca. 535 - 475 BCE). Christian apologists like Justin Martyr writing in the second century understood Christ as the Logos or the Word of God who served as an intermediary between God and the World.

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St. Matthew, from the Lindisfarne Gospels. ca. 700

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St. Matthew, from the Lindisfarne Gospels. ca. 700

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The intricate patterns and ornamental detail of this page from the Lindisfarne Gospels served to
A. encourage meditative contemplation
'
What detail of Matthew's portrait page in the Lindisfarne Gospels suggests a Classical influence on Hiberno-Saxon art?
he figure's robes and posture

The Lindisfarne Gospels was made at Lindisfarne Priory at a time of Invasions and political upheavals
Images of writers of 4 gospels (evangelists)

Moses behind curtain with closed book (vs. new revelation)
The Lindisfarne Gospels was made at Lindisfarne Priory at a time of
Classical influence on Hiberno-Saxon art can be seen in the
The intricate patterns and ornamental detail of this page from the Lindisfarne Gospels served to

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Cross page, from the Lindisfarne Gospels. ca. 700 

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Cross page, from the Lindisfarne Gospels. ca. 700 

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Illuminated mmanuscript. Miniaturist art.
Scriptorium part of monastery; copied large numbers of the Bible and other Christian books by hand to spread the word; active as missionaries in northern Europe

Each book a sacred object; beauty needed to reflect importance of contents

Called illuminated manuscript: painter called miniaturist

Complex! symmetry, exact; worked on a grid

“sacred riddle”; biting, clawing animals subdued by cross, converted to Christianity like the Celtic tribes themselves

Three factors contribute: isolation, sophistication of scriptoria, desire to spread Christianity