# data[].attributes.body
Neolithic
We don't really know what it was used for and what its main primary purposes were or how the natives moved the stones. Its post lentil construction is what is most impressive about it. Maybe it was a burial place, it lines up with a lot of astronomical things such as the solstices.

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She is also known as the nude women or the Venus of Willendorf. We think that maybe she has something to do with fertility because of the emphasis on her bits. Fits in the palm of your hand. We don't really know her purpose.

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Lauscaux Cave Painting (Hall of Bulls, Chinese horse, Rhinoceros, Wounded Man and Bison

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Lauscaux Cave Painting (Hall of Bulls, Chinese horse, Rhinoceros, Wounded Man and Bison

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We can see that art is an important aspect of every culture through this painting. It is important to every culture. They would use the rocks to their advantage

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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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Tryptich. The left trypich is a continous narrative of adam and eve in the garden. Middle is christ at the last judgement. and the right one is hell.

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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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Very emotion provoking image. Christ is being lowered down from the cross. This work has Christ and Mary's posture the same.

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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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It is oil and oak. She is not pregnant, it is a typical dress at the time and she is holding all of the fabric up. We don't quite know what it is but a theory we think that maybe she is dead and it is a mourning portrait because of symbolism with the candles and paintings of Christ in the mirror. we also think that maybe it is mourning the loss of a child. Her raindress could be a status of wealth. Green could also symbolize, hope for a child. The dog represents fedality. The shoes represent holy ground. The oranges symbolize wealth or purity and innocence The white headress could represent purity. We know its summer because we can glimpse a cherry tree through the window. Oranges symbolize wealth.

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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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It is almost certainly a self portrait but we don't know for sure. It is all just a testament to his skill and innovation. The red turban is called a headdress and it was a headress that was fashioned for the 15th century. We get some contrast of color.

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Hubert and Jan van Eyck. Ghent Altarpiece (open and closed), 1432

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Hubert and Jan van Eyck. Ghent Altarpiece (open and closed), 1432

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Polyptich. This is what it looks like closed. There is the donors, announciation scenes, prophets, sybils.

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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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It is triptych. The angel is telling Mary that she is going to have Jesus and it is a very domestic setting unlike other ones we have seen. The left side is the donors looking.

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The message is that King Richard has received the divine right to rule. The backside has king richard's emblems and coat of arms.  It is two sided.

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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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This is a book of hours. The duke of berry commissioned this. While a book of hours is most prayers, they also contained some calendars. It is very highly detailed. They also loved to emphasize patterns. Everyone is wearing a different pattern.

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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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You have the well itself and it did have a cross, but it may not be there anymore. All of the people are prophets that foretold Christ's death. In between these prophets are these angels that are weeping and mourning. All of these figures would have been painted. the banners would be how we identified the prophets. Comparing them to jamb statues they are a lot more elongated and stylized while these ones are more naturalistic in the people and drapery.

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

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

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It is three fresco panels in a town hall. It was placed there to remind the leaders how to govern well. It is interesting that we got a secular painting not a religious painting during this time.

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Tempera and gold. There is a interest showing deep space. There is no defined environment. She has the little head halo. There is a dove in the center of the largest point arch. THe vase of the lilies symbolizes the purity of the virgin. On either side are martyrs and patron saints.

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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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In the Maesta alter. It teling Mary that she is going to have a baby. The perspective is a bit wonky.

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It has a lot more perspective than the earlier one. It is celebrated as the first painting of the renaissance. It is more naturalistic. There is a sense of the weight of Mary.

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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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The scenes of the bottom and back that show images of his life.

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Arena (Scrovegni) Chapel, Padua. 1305–06 (and fresco paintings by Giotto)

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Arena (Scrovegni) Chapel, Padua. 1305–06 (and fresco paintings by Giotto)

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This church was built to atone for the guy who built it father's sins. The blue barallel vaulted ceiling is supposed to represent the heavens at christ's birth. He painted scenes from the life of Mary and scenees from the life of Christ. We see a lot of mass and 3 dimensionality to his painting. Many of the detailed of the composition in the paintings lead our eyes to christ. Giotto really pioneered the transition to renaissance art. There are lto of folds in teh drapery and there is  alot of care for the naturalism of the human anatomy. It is was built to atone for his father's sins.

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Cimabue. Madonna Enthroned. ca. 1280–90 

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Not a lot of perspective or 3 dimensionality. It is very flat. The angels seem much larger so they seem to occupy the same space as Christ. The four figures at the bottom are jeremiah, Isaih, david, and Abraham and they for told the birth of Christ.

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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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He created 20 claudrofoil scenes of john the baptists and 8 virtues at the bottom. The details are covered in goil leaf. The door was made out of bronze.

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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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Very unique floor plan. It has a really nice unique floor plan to it. It is very balanced. The marble is pink, green and white.

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Nicola Pisano. PUlpi. 1259-60 (plus reliefs by Nicola and Giovanni Pisano)

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Nicola Pisano. PUlpi. 1259-60 (plus reliefs by Nicola and Giovanni Pisano)

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It is super classical. It has six sides and each is a part of Christ's life. There are seven columns. We don't know what the lions represent. It represents a turning point of art of its time because of the return of the classical times and it is a relief.

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Altarpiece of St. Francis of Assisi/ St. Clare

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Altarpiece of St. Francis of Assisi/ St. Clare

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It is made of wood and it meant to emphasize the suffering of Christ and Mary. It is from Germany. Its intention is invoke emotions in the viewer.

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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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Uta regarded as the most beautiful women of this time period. The evil queen from snow white is modeled after her. They are named after the donors/founders. They are not portraits because it was painted 200 years later, but they do have individual facial characters. Starting to become more humanistic

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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 is really only used in England and it used HEAVILY in this building. They liked to experiment with their vaulting. Has stained glass, flying buttresses.

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Salisbury Cathedral, ca. 1320-30 (exterior, plan, and nave)

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Salisbury Cathedral, ca. 1320-30 (exterior, plan, and nave)

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Biggest difference between english and french architecure. They emphasis more the shape of the cathedral while the french emphazed height. Double transept plan. No circular apse or ambulatory plan. They have lots of little rooms. Still seeing classic gothic architecture, just with English twist.

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris

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Virgin of Paris. Early 14th century. Stone. Cathedral of Notre-Dame, Paris

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Gothic. This is the one that the one in hunchback of notre dame is based off of. We are standing to get back more to classical, more freestanding. She is wearing a crown symbolizing mary mother of heaven. CHrist is holding a orb which is supposed to represent the world, pantacrator symbol. We see that gothic sway

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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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WE can see gothic architecture in the background. illuminated manuscript

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See how they are slowly getting more elaborate. The three portals are jutting outward a bit. They have rose windows on the inside and their sculptures on top. They have another gallery of the kings near the top. the jamb statues of this church are getting more naturalistic. They are actually standing on something and not as elongated and moving. They don't have emotions. We are starting to see classical drapery. We can see the gothic sawy.

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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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It is absolutey massive. Three portals, large rose window, pointed arches, flying buttresses, lots of window tracery, they have this gallery of the kings that shows the lineage of Christ above the pointed arches. On the inside more pointed arches, nave archade, ribbed groin vaulting.

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

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Cathedral of Notre-Dame, Chartres, France. ca. 1145–1220 (outside, inside, plan, portal and jamb sculptures, stained glass windows)

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Two different towers. The less decorated tower was built later because late gothic period was very decorated. Big rose window, Latin cross plan. The transpet, the arms of the cross shortened during this period. Has jambs statues inside, not classical at all. Very stiff, straightforward. The folds in their fabric are not very realistic, more stylized.  There is a portal on the south end which shows Christ on the mandorla (body shapes halo). The floor plan of the nave is depicting a labryinth to show the journey to heaven. The inside of the knaves has the ribbed vaulting, there are thre stories, nave arcade, triforim, clerestory. Most of the stained glass is originall to the time. The windows have more densely colored windows. There is a big rose stained class inside with christ in the middle. The long windows below are called lancets. It has all the characterisitcs of a gothic church, flying buttresses, rose window. There are lots of jamb statues. There is Christ sitting on a throne in a mandorla surrounded by his animals.

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Abbey church of Saint-Denis, France. 1140–44 (outside, ambulatory, and plan)

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Abbey church of Saint-Denis, France. 1140–44 (outside, ambulatory, and plan)

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it is one of the first catheddrals to implement all of the gothic elements, flying buttresses, bundled columns, pointed arches, ribbed groin vaulting. One thing that is different abou tthis period is the wall scenes are smaller

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Book of Hours: a book containing the prayers or offices to be said at the canonical hours of the day (popular in middle ages)

Dyptch: a painting, especially an alterpiece, on two hinged wooden panels which may be closed like a book.

Triptych: a picture or relief carving on three panels, typical hingered together side by side and used as an alterpiece.

Polyptych: a paitning, typically an alterpiece, consisting of more than three leaves or panels joined together by hinges or folds.

Donors/Patrons: someone who gives financial or toher suport to a person, cause, commision etc.

Grisaille: a method of painting in gray monochrome, typically to imitate scupture

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Franciscan Order: any member of a roman catholic religious order founded in the early 13th century Saint Francis of Assisi

Apron Scene: the area of the stage in front of the proscenium arch

Painted Altarpieces: works of art that decorate the spavce above and behind the alter in a Christin church.

Tempera: painting with pigments bound in water soluble emulsion, such as water and egg yok or an oil in water (oil and w awhole egg)

Fresco: a painting done rapidly in watercolor on wet plaster on  a wall or celing, so that colors penetrate the plaster and vecome fixed as it dries

Pulpit: raised platform in church where preacher delievers a sermon.

Annunciation: the announcement of the incarnation by the angel Gabriel to mary

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Pointed arches: a arch wth a ointed crown

Ribbed groin vaults: the panel in the bays of the vaults underside are separated from each other by ribs which conceals the goins (intersections of the panels)

Flying buttresses: a buttress slanting from a separate pier, typically forming an arch with the wall it supports

Nave

Transept

Crossing

Aisles

Ambulatory

Nave arcade: an arcade marking the separation between a nave an dside asiles

Gallery: an upper story over the aisle which opens onto the nave or choir

Triforium: a gallery or arcade above the arches of the nave, choir and transpets of a church

Clerestory: the upper part of the nave, choir and transpets

Compound piers: feature of a nave arcade designed for the support of arches and to bring arch and pier into harmey

Westwork

Jamb statues: a figure carved on the jambs of a doorway or window

Cult of Mary: consists of devotees who center their devotion on Mary, instead of Jesus or God.

Gothic “sway”: a variation on the contrapposto pose which places the weight of the body on the forward stationary leg, creating an elegant pose, often seen in Madonna figures.

Stained glass: colored glass used to form decorative or pictorial designs

Tracery windows: where windows are divided into sections of various proprotions by stone bars or ribs of molding

Rayonnant or Court Style: focused more on decoration (pinnacles, moldings, window tracery). Focused on the dissolution of walls in favor of huge areas of windows.

Flamboyant Style: It evolved otu of teh Rayonnant style's increasing emphasis on decoartion. Its most conspicuous feature is the dominance in teh stone window tracery of a flamelike S-shaped curve.

Fan Vaulting (England): a form of vault where the ribs are all of the same curve and spaced equidstantly in manner resembling a fan.

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Ottonian Period. This is the suffering Christ trope. There is obviously gravity pulling him down. His head is down, he has the bloated belly, he is obviously dead or is suffering and it evokes empathy. The rare thing about this sculpture is that is 6 feet tall, would hang above a alter and would stare down at you. We are getting a bit more naturalistic. This is in Germany it is paint and wood.

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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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Ottonian Period. The gospels open up with a double page opening, this. On the right is otto and he is sitting down, obviously king. Often when we see Jesus as the pantacrator he holds a globe, which is why otto did it. He is flanked by military and clergy showing he is ruler of church and state. The other image shows four guys that are supposed to represent the territories that Otto rules and they are giving him gifts. We see some classical influences on the right with the corinthian columns, but they have faces.

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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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Ottonian Art. It was bombed in world war two and rebuilt. It uses westwork. Something it we have not seen in other cathedrals is it has double trancepts, meaning instead of the scructure shapes like a regular cross, it instead has two arms. The doors are named after a bishop burnwood. He went on a pilgramage to the room and got the ideas for the doors. They are made of bronze and use the lost wax method. They have old testiment scenes on the left, new tesatment scenes on the right. It was dedicated to archangel michael.

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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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Carolingian Art. This is the front cover of the binding. It is very ornate. Created in a monastery. This was evidence was the florishing illuminated manuscript. Christ is portrayed as pantacrator. He is on the cross, but he looks like a ruler, he is a conqueror of death. He is facing death with no fear. The raised metalworking technique is repose. They used jeweles are meant to catch and reflect the light and evoke that divinity and divine sense of light. Glorify the heavens and Christ's divinity. He has blood dripping from his hands by the way.

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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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Carolingian Art. Looking very frantic. Has the same stand and roman background as the last painting. He looks more unstables, very loose brush work. Moving away from classical ness.

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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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Carolingian Period. Another portrait of saint matthew. There are other evangelistic portraits of the apostales. We are definitely seeing the classical influence, with the drapery for example. He is looking more naturalistic. This was probably found in charlemagne's tomb. He looks very calm and serene

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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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Carolingian Period. We don't know if this sculpture is depicting Charlamegne or his son Charles the bold. It is one of the few bronze sculptures to survive. It is very similar to marcus aurelius sculpture. They have taken the idea of a roman idea and implementing it into his reign. Charlemagne was crowned the holy roman emperor of the holy roman empire. He moved the capital from constantinople to rivenna. He was very influential and he created lower case letters for illuminate manuscripts. He was ruler over most of europe at one point.

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Burial ship and Animal head, from Oseberg, Norway. ca. 834

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Burial ship and Animal head, from Oseberg, Norway. ca. 834

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Viking Period. There were five of these heads discovered on a burial ship all made by different artists. It has the interlacing style within its sculpture. There were two women also found on the burial ship, don't know anything about them. We don't know much about these. We don't even know what animal it is trying to depict.

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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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Hiberno-Saxon period. It is a p because that is the actual word, RO is just the sound. It is perhaps the most elaborate of the book of kells. It has a lot of christian themes. There are two mice hidden in the picture taking the sacramental wafer. It is dominated by celtic dsigns, we some interlacing styles, some zoomorphic designs. This chi ro page opens the navity scene. The Chi Ro opens the page of the navities. It has a lot of celtic influence, very barbarian style.

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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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Hiberno-Saxon period. This is supposed to show Matthew. He is seen with a nimbus. This is supposed to show him making his book for the bible. We see some classical influences because he seated in that philospher's position and the drapery.

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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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Hiberno-Saxon Period. There is a cross in the middle, it is a cross page. It has a lot of interlacing patterns and cirecues and its very elaborate. These are made by the same people who made the book of durrow. It is very repetive, it very patterned. This whole book took 10 years. There is about 516 pages. The gold is byzantine influence.

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St. Matthew, from the Book of Durrow, ca. 680.

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St. Matthew, from the Book of Durrow, ca. 680.

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Hiberno-Saxon Period. It is very decorated and has very many patterns. It has that barbarian and celtic influence with the knots and interlacing style in the corner. The man is very stylized.

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Purse cover, from the Sutton Hoo ship burial. First half of 7th century

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Purse cover, from the Sutton Hoo ship burial. First half of 7th century

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Anglo-Saxon Period. The material that would have been the purse would have deterioted and now it is no longer here. Very similar to that cloisenne metal working style. It is not naturalistic, it is very symmetrical. In the middle we have two birds of prey with two smaller birds of prey almost identical to each and than you have the two men with wolves. Shows the expertise of metalworking and it also has celtic inspired lines like the buckle. A person of status and wealth would have owned this. Anglo Saxon style so it has that animal style. Very orante, we don't know what the animals are, but they are probabaly signifiant in some way. It is made using the closanatique technique

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Gold buckle, from the Sutton Hoo ship burial. First half of 7th centur

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Gold buckle, from the Sutton Hoo ship burial. First half of 7th centur

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Angelo Saxon period. It is gold. There is animals in it if you look closely. That is a barbarian influence. We see in here these abstracted and very stylized snakes and there are thirteen of them interlacing in this weaving style. We have some celtic influence with the circle with snakes looking like a celtic knot. The person who would have worn this would have been someone of status and very wealthy. Similar made buckles were made to contain christian relics, but we don't necessarily know that that is true with this. We don't know much about this. It weighs a little less than a pound

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St. Etienne, Caen, France (façade, plan, nave)

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St. Etienne, Caen, France (façade, plan, nave)

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Durham Cathedral, England. 1093-1130 (plan, nave, transverse section)

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Durham Cathedral, England. 1093-1130 (plan, nave, transverse section)

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seeing chevron columns. see celtic influence, see huge piers supporing the huge weight of the cathedral. had a ribbed vault.

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There is lots of parts to it. It is embroidery on linen. It is depicting William's conquest on England. This tapestry measures about 20 inches high and is 230 feet. We don't know the artists, but very high quality needlework, very high quality embroidery. It is a continous narrative. It just kind of shows the entire thing. It depicts the events surrounding the battle of William's conquest on England.

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Speyer cathedral, ca. 103-61; vaulted ca. 1080-1106 (interior)

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Speyer cathedral, ca. 103-61; vaulted ca. 1080-1106 (interior)

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Baptistery of San Giovanni, Florence, Italy. Ca. 1060-1150

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Baptistery of San Giovanni, Florence, Italy. Ca. 1060-1150

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The dome on the inside is completely covered in gold. It shows many bible scenes. It has registers, but not a continuous narrative.

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Baptistery, cathedral, and campanile. Pisa, Italy. 1053–1272

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Baptistery, cathedral, and campanile. Pisa, Italy. 1053–1272

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The picture I choose is the baptistry, there is a cathedral, and then the leaning tower of pisa. This style is very unique to other styles we have scenes. The pissa is reminiscent of the colloseum. Lots of classical influence.

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Mouth of Hell, from the Winchester Psalter. Winchester, England. ca. 1150

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Mouth of Hell, from the Winchester Psalter. Winchester, England. ca. 1150

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Ushering all of the damned souls to hell.

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. ca. 1147

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St. John the Evangelist, from the Gospel Book of Abbot Wedricus. ca. 1147

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There is the hand of God with a dove whispering into his ear. The circles show his life. There is a byzantine influence because of the gold background of John. There is a lot of empty space.

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. Ca. 1120-35

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Last Judgment portal by Gislebertus, cathedral of Saint-Lazare, Autun, France. Ca. 1120-35

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Because people didn't have bibles, these visuals were how they were taught. The last judgement is to scare them to go to church and make them reflect on their own spiritual standing with God. There is a sense of hierarchical scale, he is bigger than everyone else, he has that mandorla, meaning he is encased in a halo. Left is the damned and the right is the righteous. There is scale on both sides that are weighing the people. On the right hand there is the devil trying to pull the scales down. The figures are very elongated, not quite naturalistic, not quite stylized. We have jambs on the either side the traumeou in the middle. The blessed are on his right and the damned on his left. There are jambs on the left and right and a trumeau in the middle and tippenau. Christ is surrounded by that mandorla.

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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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These figures are not quite scultpted into the column, they are sculpted outward.

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South portal with Second Coming of Christ on tympanum, church of Saint-Pierre, Moissac. ca. 1115-30

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South portal with Second Coming of Christ on tympanum, church of Saint-Pierre, Moissac. ca. 1115-30

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It has jambs, archivolts, tympanum, lintel, tumeau, voussoirs. It shows the second coming. The jamb collumns have scalloping decoration. It is really hard to see, but Christ is fully surrounded by a hallow and he is surrounded by the animal counterparts of the four evangelists.

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 (inside, outside, plan)

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Cathedral of Santiago de Compostela, Spain. ca. 1075–1120 (inside, outside, plan)

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It's design is the practical response to the pilgramages. There are quite a few absediles along the back part of the church. The reason for this were to hold relics. The ceiling is a barrel vault. We see roman arches and it is very elongated and there a nave. The interior is huge. The cathedral is named after saint james because they believed he is buried here. This is the largest romanesque church in spain so it makes sense this is the end destination of a certain pilgrimage. It has some later gothic and boroque additions. It has a huge incense disperser in the nave and it the most famous. The front has a westwork. This facade is actually a 18th century facade. There are other parts such as the interior that is more authentic. We have the nave where you come in and the transpert. In the back end in the apse it is where relics were put. The columns inside are big and it is very tall. They really emphasized height in the structure.

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Nave and choir, church of Sant Vicenc, Cardona, Spain. ca. 1029-1040

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Nave and choir, church of Sant Vicenc, Cardona, Spain. ca. 1029-1040

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A perfect example of a romanesque church. Very castle like and very indictive of the romanesque period, very dark, little windows.

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pilgrimage: a journey of a pilgrim, especially to a shrine or sacred place.

Santiago de Compostela: a historic pilgrimage city in Galicia, Spain.

barrel vault: a barrel vault is the simplest type of ceiling vault.

compound piers: feature of 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 the two adjavent supports

apsidiole: a small apse

ambulatory: a place for walking, especially an aisle around the apse or a cloister in a church or monastery.

transept: (in a cross-shaped church) either of the two parts forming the arms of the cross shape, projecting at right angles from the nave.

crossing: The intersection of a church nave and the transepts.

narthex: an antechamber, porch, or distinct area at the western entrance of some early Christian churches, separated off by a railing

nave: the central part of a church building intended to accomodate most of the congregation.

reliquary: a container for holy relics

cloister: a covered walk in a convent, monastery, college, or cathedral, typically with a wall on one side and a colonnade open to a quadrangle on the other.

tympanum: a vertical recessed triangular space forming the center of pediment, typically decorated.

trumeau: a section of a wall or pillar between two openings, especially a pillar dividing a large doorway in a church

jamb: a vertical element of a doorway or window frame.

groin vaults:

campanile: a bell tower.

mandorla: a pointed oval figure used as an architectural figure and as an aureole enclosing figures such as Jesus Christ or the Virgin mary in Medieval art.

Psalter: a book with songs.

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cloisonné: ancient technique for decorating metalwork objects with colored material held in place or separated by metal wire strips or wire, normally made of gold.

illuminated manuscript: hand-written books with painted decoration that generally includes precious metals such as gold or silver

initial page: an enlarged letter at the beginning of a paragraph or other section of text, that contains a picture.

carpet page: a full page in an illuminated manuscript containing intricate, non-figurative

miniaturist: painter of miniatures or an illuminator of manuscripts.

scriptoria: a room set apart for writing, especially one in a monastery where manuscripts were copied.

codex: an ancient manuscript text in book form.

the four evangelists: Matthew (a winged man), Mark (lion), Luke (ox) and John (eagle).

Westwork: an entrance area at the west end of a church with a upper chamber and usually with a tower or towers.

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Anglo-Saxon: c. 600 A.D.
Hiberno-Saxon: c. 700 A.D.
Viking: c. 800 A.D.
Carolingian: c. 800 A.D.
Ottonian: c. 1000 A.D.

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Bichitr, Jahangir Preferring a Sufi Shaikh to Kings from the "St.   Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper

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Bichitr, Jahangir Preferring a Sufi Shaikh to Kings from the "St.   Petersburg Album," 1615-1618, opaque watercolor, gold and ink on paper

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we look at a distance and it looks purely white, but up close it is very decorated. Originally created as a mausoleum for a king's favorite wife who died after complications to her child. the four minarets, the towers. The marble dome is 23 feet higha nd decorated with lotus design. Rest of it is hundred feet tall. It represents paradise. The architecure and glass are all representive of paradise.

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Madrasa of Ulugh beg, Samarkand, Uzbekistan. ca. 1435

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Madrasa of Ulugh beg, Samarkand, Uzbekistan. ca. 1435

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Islamic school

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First a roman temple to Janus, then a church, then a mosque, than a church. Inside there is a hall with all of the cool arches from this time and it where muslims would unroll their prayer rug and pray. They would also have a prayer niche. The most unqiue thing about this is the horshoe arches inside. Hypostyle hall is where they would pray.

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Dome of the Rock, Jerusalem. ca. 690 and later

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Dome of the Rock, Jerusalem. ca. 690 and later

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It is around 690 AD. It is in a octagonal shape. It is the earliest major Islamic building to have survive in our time. It is believed to be the place were Abraham tried to sacrificed Isaac, there is the rock inside. Central dome plan from early christian times. Complete golden dome similar to Byzantine time, but it is islamic. Mosaics contain no human figures or animals.

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probably one of the most important parts of a mosque because it shows where mecca is. Is it made out of small glazed tiles. We see some verses of the quaran in kurfic script. One of the earliest and finest examples of islamic tile work.

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

Qibla Wall: wall in the moque that faces Mecca

Kufic Script: used by early muslims to record the Quaran.

Minaret: tower from which the faithful are called to prayer five times each day by a crier

Horseshoe arches: curved arch often used in spanish medeival architechture - embleatic arch of Islamic architecture

Voussoirs: wedge shaped stone used to build an arch

Iwan: rectangular hall or space, usually vaulted, walled on three sides with one end entirely open.

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Early Christian Art: c. 250 A.D.-400 A.D.

Early Byzantine Art: c. 500 A.D.

Middle Byzantine Art: c. 900-1200 A.D.

Late Byzantine Art: c. 1300 A.D.

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Chi Ro Monogram: Greek Symbol for Chi and Greek symbol for Ro put together

Ichthus symbol: Two intersecing archs (Jesus Christ son of God Savior)

Orant position: figures with arms raised in prayer

Clerestory: high section of wall that contains windows above eye level. Its purpose is to admit light, fresh air, or both

Martyrium: building/chamber used by early Christians as a burial place

Tesserae: small block of stone, tile, glass, etc used for constructing mosaics.

Nimbus: cloud or halo surrounding a supernatural being or saint

Nave: central part of a church building

Aisle: parallels the major sections of the chapel (nave, choir etc.)

Gallery: the second story, be on the Clerestory.

Narthex: enclosed porch or meeting area

Apse: a semicircular or polygonal termination to the choir, chancel, or aisle of a building

Icon: sacred images reprsenting Christ, saints, and the virgin, includes images of Christ's crucifixion

Iconoclast, Iconophile: the banning or destruction of religious images

Psalter: a copy of hte book of psalms

Pantocrator: Greek= all mighty or all pwoerful, image of Christ as the ruler of the universe

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Late Byzantine. This is not the correct painting but similar. There are four prophets at the bottom of the original that prophesied his birth. It is tempura on linden panel.

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Christ Pantocrator, Church of the Dormition, Daphni, Greece

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Christ Pantocrator, Church of the Dormition, Daphni, Greece

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Middle Byzantine. It resides in the church of domision in Dapne Greece. He has a very stern expression. He is explaying his divinity and authority. He has the nimbus, has a couple christian symbols. It is very simplistic, but also has those thick black lines to emphasize Christ and make him seem sterner. His robe would have been originally been purple which is associated royalty. It is symmetrical. It is a mosaic. He would have been at the top of a dome.

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt. 6th century CE

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt. 6th century CE

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Early Byzantine. He is meant to look more stern, divine and what not. It is the earliest known depiction of Christ as the pantacrator. The pose looks like he blessing us, around 33 inches tall, acostic hot wax technique.

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Hagia Sophia, Istanbul, Turkey. 532–37 CE  (inside, outside, plan)

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Hagia Sophia, Istanbul, Turkey. 532–37 CE  (inside, outside, plan)

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early byzantine. Some people believe that Hagia Sophia is the first originally Christian buildng. The towers outside are islamic because they were added after by the islamic. Hagia Sophia means holy Wisdom. It was originally built and commissioned by Justinia. It was the first the employ the dome on pendentives. More structurely sound. This is the empitome of byzantine archetecture. There is a lot of gold on the interior. There are many mosaics inside. There was a lot of light coming. There are apse and aisles inside. At first it was a Christian church and then changed and forth several times between that and a mosque. The towers were one originally there, they were added later by the muslims. This and the san vitale both have domes.

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San Vitale, Ravenna, Italy. 526–47 CE (inside, outside, plan, and mosaics)

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San Vitale, Ravenna, Italy. 526–47 CE (inside, outside, plan, and mosaics)

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Has the octagonal plan. It is not quite a dome, but it has that circular aspect of that dome. Early Byzantine. It has the aisles in a circular way. It is depicting churches in a new innovational way. We have galleries. There is comvination of Roman and Byzantine elements. The shape of the doorways, the stairs and what not are roman.  the apses, the capitals, the narrow bricks and the flying buttrasses are all byzantine.  Vitalus is the saint it is dedicated to. It has some of the most impressive mosaics that we know of. A very key emphasis of the byzantine era is the gold, so if you see gold, good chance it is byzantine. Theodora and Justinia were the rulers and they have mosiacs about them that have halos to show their divinity. They were depicted as pretty equal rulers, though Justinia was of course slightly more important because he was the man. The mosaics are across from each other to show equality. There is a mosiac of Christ on a globe that kind of have that pantocrator trope. Justinia commissioned this. There is a bit of roman influence in the mosaics, but not a lot. The inside is just completely covered with mosiacs which are just covered in gold. The exterior is very plain which is interesting. Inside it is just absolutely gorgeous. It is just covered in mosiacs of these rulers and Christianity. We are starting to see church and state as becoming one.

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Mausoleum of Galla Placidia, Ravenna, Italy. 425–50 CE (inside and outside)

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Mausoleum of Galla Placidia, Ravenna, Italy. 425–50 CE (inside and outside)

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Sarcophagus of Junius Bassus. ca. 359 CE

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Sarcophagus of Junius Bassus. ca. 359 CE

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At this point Christianity was legal thanks to Constantine. Romans were starting to convert and one of them was Junius Bassius. He was very high status and this was his scarcophagus. This merges old and new testament scenes. Greek and Roman and Classical style which merges into this new Christian style. We see a bit of the pediment style, we see a bit of the corinthin style, but more decorated, more classical style figures with the drapery. Christ is depicted as young and unbearded which was very untypical as Christian art goes on. We see a lot of classical influence and we see Christ as very youthful and a very apollo figure. We are starting to get short stubby figures which is not classical at all. All sorts of old testament scenes.

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Old St. Peter’s, Rome, Italy. ca. 324–400 CE (inside, outside, and plan)

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Old St. Peter’s, Rome, Italy. ca. 324–400 CE (inside, outside, and plan)

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It no longer it exists, it was burned down we know what it looks like thanks to a old writer, Vetiruvious. Lots of pilgrimages and worship would go on, right after Peter the apostale died. Lots of popes were established here and charlemagne was crowned here. It could house 3000 worshipers at one time. They would often burn down because the inside would be wood with a stone covering on the outside. The srakans sacked and destroyed it.

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Mausoleum of Galla Placidia, Ravenna, Italy. 425-50 CE

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Mausoleum of Galla Placidia, Ravenna, Italy. 425-50 CE

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It is a very plain building on the outside but on the inside it very beautifully decorated. A luntte art and we see Christ as the good shepard. Has the oldest christian mosiacs in Rivenna. It is laid out in a cruciform plain and has barre vaults. Lots of chrisitian and apocoleptic influences on the inside. Christ has the nimbus and he has roman sandals and we know this Jesus because of his Cross. Has a bit of 3 dimensional shading but not a lot. Early Christian is the only era that depicts Christ without a beard. Landscape is very Roman. The twerking of his body is very classical

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Sarcophagus, Santa Maria Antiqua, Rome, Italy. Ca. 270 CE AD

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Sarcophagus, Santa Maria Antiqua, Rome, Italy. Ca. 270 CE AD

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meant for wealthy individual. Early Christian art borrows a lot of forms from early pagan art. The figures kind of look classical because of their drapery and what not, but they aren't because they are short and stubby which is indictative of early christian art. Baptism of Christ is happening and we see Christ holding the sheep and a women in the orant position. Their faces are unfinished because it is believed that the faces were be done once they were bought to look like the wealthy people who bought it. It is white veined marble. Jonah is the named guy.

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built as a royal estate for the first emperor. Approximately three day walk from Incan capitol. Host feasts, do ceremonies, blah blah.

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Pendant in the form of a bat-faced man, northeastern Colombia, Tairona, after 1000 CE,

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Pendant in the form of a bat-faced man, northeastern Colombia, Tairona, after 1000 CE,

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Northern Columbia.

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Monolith of Tlaltecuhtli (Earth Lord), 1502, Mexica (Aztec), stone

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Monolith of Tlaltecuhtli (Earth Lord), 1502, Mexica (Aztec), stone

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Worshipped by Aztec, earth's god's dismembered body which is the basis of the world.

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The Sun Stone (or The Calendar Stone), Aztec, reign of Moctezuma II (1502-20)

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The Sun Stone (or The Calendar Stone), Aztec, reign of Moctezuma II (1502-20)

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It is a calender. Very thick, big and heavy. Man's relationship with God. Used to maintain to control population

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The Coyolxauhqui Stone, Aztec, from the Great Temple of Tenochtitlán, Mexico City, c. 1500

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The Coyolxauhqui Stone, Aztec, from the Great Temple of Tenochtitlán, Mexico City, c. 1500

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This deity beheaded his sister, and threw her body down a mountain. War captives were sacrificed on a sacrificial stones and then thrown down the stairs.

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Coatlicue, Aztec, from Tenochtitlán, Mexico City, ca. 1500. 11’6’ high

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Coatlicue, Aztec, from Tenochtitlán, Mexico City, ca. 1500. 11’6’ high

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The temples are mostly Aztec, but we don't know for sure. This is the most famous surviving Aztec sculpture, it is carved in the round, meaning there aren't quite lines and it very rounding and free standing. At the bottom is this weird creepy figure, which si the image of the deity.

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Shield Jaguar and Lady Xook, Lintel 24 and 25 of Temple 23, Yaxchilán, Mexico, Maya, c. 725 C.E. limestone

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Shield Jaguar and Lady Xook, Lintel 24 and 25 of Temple 23, Yaxchilán, Mexico, Maya, c. 725 C.E. limestone

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Lady Xook is performing a blood letting ceremonial where she pulls a cord through her tongue to fill a bowl. Mayan. Very common ritual among the elite. Very frequent subject in mayan art. Rulers needed to shed blood to restore order to the cosmos. The ruler was believe to be a descendent of the gods and crucial in order to maintain their order and importance in the community.

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Chacmool, from the Platform of the Eagles, Chichén Itzá, Mexico, Maya, ca. 800-900 CE Stone

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Chacmool, from the Platform of the Eagles, Chichén Itzá, Mexico, Maya, ca. 800-900 CE Stone

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Holding a bowl on his torso, don't really know what the bowl was for. Probably for ceremonial use. Mayan.

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“El Castillo,” Chichén Itzá, Mexico, Maya, c. 800-900 CE 

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“El Castillo,” Chichén Itzá, Mexico, Maya, c. 800-900 CE 

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If you clack your hands by it the sounds sounds like a bird. Made by the mayans. THe pre-columbian mayan civilization. A temple to the deity KuKuKan. If you stay in a certain spot in the top of the pyramid your voice will project everywhere. Around the equinoxes the light hits the temple and creates the image of a snake crawling down the temple. 91 steps on each side, makes 365 steps. They really liked to use the sun and astrological points and would build their temples to align with them.

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Yoke, c. 1 – 900 C.E., Classic Veracruz culture, greenstone 

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Yoke, c. 1 – 900 C.E., Classic Veracruz culture, greenstone 

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It is likely a ceremonial representation of a lighter protective garb worn my mesoamerican ball game players.

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Pyramid of the Moon seen from the Avenue of the Dead, Teotihuacan, Mexico, c. 50-250

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Pyramid of the Moon seen from the Avenue of the Dead, Teotihuacan, Mexico, c. 50-250

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Second largest pyramid in mesoamerica. Lots of ritual sacrifices of animals and humans. Lots of burial sites. Lots of rituals, lots of sacrifices. Pyramid structure underneath and then whoever built this built over this. It could have symbolized the fertility of the earth.

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Colossal Head, La Venta, Mexico, Olmec, C. 900-400 B.C. Basalt, 9’4’ high

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Colossal Head, La Venta, Mexico, Olmec, C. 900-400 B.C. Basalt, 9’4’ high

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Sculpted from large Basalt. Largest is fourty to fifty tons, they come in all different sizes and different individuals and what not. Most likely representing different rulers from their times. Each has a distinctive headdress. They are often depicted with fleshy chubby cheaks, flat noses and downward mouths, resembles peopel today from that region. Probably transported over long distances and we don't know how. once thought to represent ball players, no longer believe that.