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30,000 BC - 10,000 BC

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Lascaux Cave Paintings (Hall of the Bulls, Chinese Horse, Rhinoceros, Wounded Man and Bison), 

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Lascaux Cave Paintings (Hall of the Bulls, Chinese Horse, Rhinoceros, Wounded Man and Bison), 

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-       Cave of Lascaux, france, human way to communicate in the form of pictures

-       In valley of Vezere, southwest France, humans lives and waitnessed the migratory patterns of range of wildlife. Discovered a cave, and drew and painted images that were discovered in 1940

-       Early artists used charcoal and ocher to paint

-       Images of horses, deer, bison, elk, a few lions, a rhinoceros, and a bear

-       Pics are “twisted perspective” where the body is profile view and the horns are a frontal view

-       Theories suggest that the prehistoric people used the cave to overpower their prey by creating images of it during rituals designed to ensure and successful hunt

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-       11 cm sculpture

limestone

-       Don’t know why she was made or anything

-       Anthrological object – goddess figure that’s associated with fertility – theory

One of the oldest figures of work in the world

She acquired name Venus when she was found in 1908 when she was found

We know almost nothing about her, who made her, no context, why made her

Naming her after greek goddess of love, naming her a goddess figure and associating her with fertility

Almost all figured found from ice age are female figures nude and of different shape, some are thin or emphasize the breasts

She has no feet, and very thin arms rested on her breasts

no facial features, like most figures of this time

woven hat on head, some suggest this was a hat

hands are barely articulated, defining the fingers

suggest that the exaggeration of the stomach, and breasts are natural shapes of the stone

symmetrical

Meant to be held, fits perfectly in a hand

originally painted with oaker paint, red

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Stonehenge (aerial view), Salisbury Plain, Wiltshire, England. ca. 2100 BCE

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Stonehenge (aerial view), Salisbury Plain, Wiltshire, England. ca. 2100 BCE

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People living in the fourth millennium BCE who began work on Stonehenger were contemporary with the first dynasties of Ancient Egypt, and their efforts predate the building of the pyramids.

3 phases of Construction:

first stage happened around 3100 BCE, when the great circular ditch about six ft. deep was dug with a bank of dirt within it about 360 feet in diameter with a large entrance to the northeast and a smaller one to the south. This circular ditch and bank together is called a henge. Within the hanger were dug 56 pits, called Aubrey holes, after John Aubrey, these were originally filled upright with bluestones or upright wooden beams, each weighed about 2-4 tons

Phase two occurred around 100-200 years later, setting up wooden posts in the center of the henge, and more upright posts near the northeast and southern entrances.

During this phase it was used for burial. At least 25 of the Aubrey holes were emptied and reused to hold cremation burials

Phase three: 400-5-- years later, the remaining bluestones or wooden beams were pulled, these stones were capped with 30 lintel stones (the horizontal stones)

Each stone Is 13 ft. high, 7 ft. wide and 25 tons

The ring of the stones enclose sarson trilithons set in a horseshoe shape across 45 ft.

Nearly all burials were of adult males ages 25-40 years old, In good healthy and with little sign of hard labor or disease

sunrise of the midsummer solstice is exactly framed by the end of the horseshoe, and at the opposite point at the center of the bend is the midwinter sunset, and the sun is also aligned. (longest and shortest days of the year), could be a solar and lunar calendar, also theories about astrological observation

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10,000 BC - 2,000 BC

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4,000 BC - 500 BC

Sumerian: ca. 3000BC

Akkadian: ca. 2000

Babylonian: ca. 1700

Assyrian: 700 BC

Late Babylonian: 600 BC

Persian: ca. 500 BC

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2254-2218 BCE

Akkadian

Naram was the great greta grands of the Akkadian king

commemorates a victory over the lullabies people

Usually victories are shown in "registers" which are divided into horizontal bands

here it's shown where he's at the top and diagonal on the left underneath him we see his soldiers climbing the mountain, and on the right the vanquished and defeated

they are marching in lines on the left, on the right there is so much chaos

He is so noble looking like a god compared to the mortals around him

Everyone's gaze is looking up towards him

The vanquished are being thrown off like into water, a spear in someones neck

This is supposed to be a symbolic image that tells this story through symbols

he is seen larger than everyone else with shoulders frontal, head in profile,

deities at the top that look like suns

He is wearing a horned helmet, which shows he's wearing the status of the gods

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Stele inscribed with the Law Code of Hammurabi 

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Stele inscribed with the Law Code of Hammurabi 

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1700 BCE

Babylonian

Carved in relief on the top, and inscribed cuneiform throughout the body

cuneiform is a script used on the stele

in Akkadian, the court language of the Babylonians

It's divided into three parts: a prologue that talks about what's happening on the top. The scene, the king on the left, smaller and facing the sun God of justice

we can tell he's a god bc of his horned crown and the flames/light that emirate from his shoulders -- it's like a halo

We see frontal face but face is profile like Egyptian art

He sits on a throne,

He's giving to the king a sceptor and ring that are signs of power

under his feet are representations of mountains that he rises on everyday

He's representing that these are divine laws

over 300 laws

Not written by the king but have already been a thing

Show actions and consequences that come from your actions

Kind of like an "eye for an eye" like biblical texts

Last part - epilogue - speaks to the posterity of the king, the importance of the rule, and that he will be the ruler for all time

These tell us about Babylonian culture and what was important to them

So many of them have to do with agricultural issues and show points of tension in society, a lot also have to do with family life

City that is dependent on good crop fields for them to survive

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Gates of the citadel of Sargon II (and Iamassu), Iraq. 742-706 BCE (Assyrian)

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Gates of the citadel of Sargon II (and Iamassu), Iraq. 742-706 BCE (Assyrian)

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Assyrian

controlled the ancient near east

Come from the Sargon II, his capital

Protected the cities gates and protected the gates of the citadel itself

Gauriden figures that are bulls with the heads of men

the are fearsome, look powerful, could be expression of the power fo Assyrian king

Stood between huge arches and had some architectural purpose

Single pieces of stone, no cuts

Relief carvings

Walls of it showed hunting scenes and royal power through relief sculptures

The crown is decorated with rosettes, double horns that come into the center, and ring of feathers

Top of forehead you see wavy hair that comes below the crown, then a connected eyebrow and ears fo a bull

Whole form is very decorative

Ringlettes on the cheeks in the beard, and it goes into spirals as you go down

Wings have a decorative pattern

Across the body there are ringlets to show the fur of the beast

Under creature and around the legs we see inscriptions of cuneiform

some declare power of the king and damnation for those

There are 5 legs, four from the side view

From the front, the legs are static and make it look stationary, versus the side makes it look like it's moving forward

once we enter the gate, we see the animal moving with us as we move forward

Can see the veins and muscles in the leg, show naturalistic and decorative, all speaking through the power of the king

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5,000 BC to 300 BC

Predynastic: c. 3000 BC

Old Kingdom: 2500

Middle Kingdom: 2000

New Kingdom: 1500

Amarna Style: 1350

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Imhotep. Step pyramid of King Djoser, Saqqara

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Imhotep. Step pyramid of King Djoser, Saqqara

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ca. 2681-2662 BCE

Old Kingdom

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ca. 2533-2515 BCE

Old Kingdom

Smallest of the three pyramids of Giza

height of 65 meters (213 ft.)

Include a chamber carved with decorative panels and another chamber with six large niches.

Burial chamber is lined with massive granite blocks

His black stone sarcophagus, also carved with niched panels, was discovered inside, but lost at sea in 1838 while being transported to england

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2570-2544

Old Kingdom

Second pyramid, built by Khufu's second son Khafre

At the very top, a section of outer casing stones are still survived

It looks bigger that his fathers, but it's not, slightly smaller

In the interior, there is one single burial chamber, one small subsidiary chamber, and two passageways

The mortuary temple at the pyramid base was more complex than Khufu and was filled with the statuary of the king -- over 52 life-size or larger images originally filled the structure

The valley temple, located at the east end of the causeway leading from the pyramid base, is preserved

constructed of megalithic blocks sheathed with granite floors of polished white calcite

During excavation, just over life size statue of the king carved of stone (gneiss) was discovered under the floor of the temple. This sculpture shows the king seated on a lion throne that has on it's sides a symbol of the two heraldic plants of upper and lower Egypt, the papyrus and lotus, bound around a hieroglyph for "stability"

represents the kings primary duty to bind the country under his authority

The Great Sphinx:

Right next to the causeway leading from Khafre's valley temple to the mortuary temple sits the first colossal sculpture in Egyptian history

Indicates a lion with the head of a king was carved for Khafre.

The Sphinx was carved form the bedrock of the Giza plateau, it's core blocks used to construct the king's valley temple

The lion was a royal symbol and connected to the sun as a symbol of horizon, the fusion of this animal with head of pharaoh was an icon survived and often used throughout Egyptian history

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2601-2528

Old Kingdom

Largest of the three pyramids

Built by Khufu and is 481 ft. tall

Humans built nothing taller until the steeple of st. Pauls cathedral

Contains 2,300,000 blocks, some of which are 50 tons.

Constructed of inner, rough-hewn, locally quarried core stones, and angles, outer casing blocks laid in an even horizontal courses with spaces filled with gypsum plaster

The outer casing stones were lain with precision

The interior and chambers and passageways are unique

There is an unfinished subterranean chamber whose function is mysterious as well as a number of so-called 'air shafts' that radiate out from the upper chambers

these have been explored using small robots

When entering up the chamber, you have to crawl up a cramped ascending chambers that opens suddenly into a stunning space known as the grand gallery (26 ft tall) and leads up to the kings chamber, which is constructed entirely from red granite brought from the southern quarries at Aswan

Above the King’s Chamber are five stress-relieving chambers of massive granite blocks topped with immense cantilevered slabs forming a pent roof to distribute the weight of the mountain of masonry above it. The king’s sarcophagus, also carved from red granite, sits empty at the exact central axis of the pyramid. This burial chamber was sealed with a series of massive granite blocks and the entrance to the shaft filled with limestone in an effort to obscure the opening

Khufus mortuary also has 7 large boats. These were probably intended to use in the afterlife to transport the king to stellar destinations.

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Old kingdom

Last remaining of the Seven Wonders of the ancient world

Were unsurpassed in height for thousands of years

these structures were the result of many experiments, some more successful than others

They represent an apogee in line with the development of the royal mortuary complex

Built on Giza plateau, were built over the span of three generations by the rulers Khufu, Khafre, and Menkaure. Each pyramid was part of a royal mortuary complex that also on included a temple at its base and a long stone causeway leading east from the plateau to a valley temple on the edge of the floodplain.

Being buried near the pharaoh was a great honor and helped ensure a prized place in the afterlife.

The shape of the pyramid was a solar reference, perhaps intended as a solidified version of the rays of the sun

Sun's says as a ramp the pharaoh mounts to climb to the sky, the earliest pyramids were actually designed as a staircase

Many questions remain about the construction of the massive monuments

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2,800 BC - 1,100 BC

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Harpist, from Amorgos, Cyclades, Latter part of the 3rd millennium BCE 

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Harpist, from Amorgos, Cyclades, Latter part of the 3rd millennium BCE 

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Cycladic

Man seated on chair playing the harp

Only ten of these that have been discovered

Usually find tall female figures in graves at this time

Don't know any context about the find

Think many were created as forgeries

that have been produced in the modern world to seem ancient

They're highly abstract

Male figures are rounded, the chair is rounded, head is back as if singing, the head of the hair might be a head fo a bird

The women are more frontal, very compact, limbs folded in, no space between legs, no sense of movement

Slight accordion like folding of the body

Somehow related to neolithic fertility goddesses?

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1500 BCE

Minoan

An important aspect of Minoan culture was the ceramics

Ceramics was a high art form, and was closely associated with centers of power

Thi was found at Palaikastro, a wealth site on the far eastern coast of Crete

27 cm (10.5 in) high, wheel-made, hand-painted, and meant to hold valuable-perhaps oil of some kind

It's shape is somewhat unusual, constructed by slipping together, while still leather hard, two shallow plates which had been made on a fast spinning potter's wheel with highly refined clay.

The circular bases of these shallow plates are still visible

Using dark slip on the surface of the clay, the Minoan painter of this vessel filled the center with a charming octopus, swimming diagonally, with tentacles extended out to the full perimeter of the flask and wide eyes that stare out at the viewer with an almost cartoon-like friendliness. Around this creature’s limbs we find sea urchins, coral, and triton shells; no empty space is left unfilled, lending a sense of writhing energy to the overall composition.

People have identifies the work to be of the Marine Style Master, who worked at the site of Palaikastro.

The era of Marine Style pottery coincided with a period during which the Minoans’ trade networks spanned widely across the Mediterranean, from Crete to Cyprus, the

Levant, mainland Greece, and Egypt. Some have connected this seafaring skill to the popularity of Marine Style pottery. The style was imitated by potters on the Greek mainland as well as the islands of Melos, and Aegina, but none could match the charm and grace of the Minoan inventors of the style.

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1250 BCE

Mycenean

Bronze-age culture on mainland Greece

Mycenae is found on the top of a mountain, also one where enemies can be seen from a great distance

large stone on each side, the Cyclops was the only one who could move these stones so easily

The Lion Gate is perched above a standard ancient building system of post and lintel,

architects wanted to build very high, so used technique called corralling, so that each layer moved in slightly

First monumental sculpture found on Greece

two animals facing one another, between them is a column that moves wider as you go up

It is very similar to the Minoans styled their structures

The two blocks that the animals have their paws on, think they could represent tw sculptures coming together

no solid evidence on interpretation

Can guess the lost heads were turned outwards, that they might have been bird heads and that they were girffiths

There is a tradition of having powerful animals standing at gate, so could guess these scare off enemies or evil spirits

The columns could represent a city or the king

Animals are standing upright, human-like, and there is a sense of nobility

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900 BC to 30 BC

Geometric: c. 700 BC

Orientalizing: 600

Archaic: 500

Classical: 400

Hellenistic: 300

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Dipylon Vase, From the Dipylon Cemetery, Athens

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Dipylon Vase, From the Dipylon Cemetery, Athens

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750 BCE

Geometric Period

Found what would be the do pylon gate in Athens

Used as a grave marker

5 ft. tall

See figures a narrative scene, geometric

Covered in patterns all over the whole thing, triangles, diamonds, avoids empty space

Back bands around the neck meets the body and the top

Representation of animals and people

Deer grazing, below are goats, they are identical to the one before/after

At the widest part, mourning figures at side of dead woman, lying on her funeral bear

figures pulling her hair, a symbol of mourning

even between people are little star shapes to fill in empty space

Bodies are upside down triangles,

Slip ware, fine particles of clay that are suspended in water then painted on the pot

It was the same color as the clay before it was fired

The kiln made pot turn black, parts that weren't painted turned to their warm red color

parts that were painted turned black

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600-590

Archaic Period

Nude young man

he's only wearing a little choker and a headband

Man who scultped this made it to live longer than any individuals

made to mark a tomb out of stone

served a reminder of his life, but his connection to his family across time

Not a portrait, it is a symbol, an ideal of manhood of perfection

This depended on the Egyptians

He stands up right in the middle of the room unaided by everything, compared to Egyptian where it's connected to the wall

By freeing the figure from the stone, there is much more lifeless, much more human

His hips are squared, his leg is forward, sense of movement but no real movement

limbs are locked in place even though the leg is symbolizing moving forward

Aside form that one foot being forward, it is very symmetrical

In his gaze he looks past us, he doesn't engage us

His features have been reduced to geometric shapes

his clenched fists are attached to the body, because they wouldn't be able to support themself if they were free hanging

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Doryphoros (Spear Bearer), copy of an original by Polykleitos

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Doryphoros (Spear Bearer), copy of an original by Polykleitos

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450-440

Classical Period

For the greeks, it was the mathematical proportions of the human body were perfect

What would perfect ideal beauty be, is what the artist thought doing this

He would have originally been holding a spear

Pythagorus tried t

Greeks would perform athletics nude, celebrating the body

His clothes have been taken off, because it's not a portrait of an individual, it

s about the perfection of human form.

The greeks went away from the stiff poses, and tried to understand the physiology

He stands on his right foot, left leg relaxed, right leg weight-bearing, right arm relaxed, showing counter balance and harmony in the body

his knee is tilted, and the hips are parallel to the knees, vs. kioros that is perfectly symmetrical

The left hip is hanging down over that free leg, not being supported, did this to break the symmetry

For the first time in art history, figures that seem fully alive just like us

Made a figure that doesn't exist in a separate world, but in our own

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Iktinos and Kallikrates. The Parthenon. Akropolis, Athens

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Iktinos and Kallikrates. The Parthenon. Akropolis, Athens

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447-432

Classical Period

Marble temple to the Goddess Athena

city is named after her

Overlooks the city and Aegean see

We have measured out later achievements off to this perfection

This is the birthplace of democracy

Series fo reforms in Athens that allowed more people to participate in the government

Popseiden and Athena both offered something to the city, snd the city chose Athenas gift of an olive tree

Doric temple, with ionic elements

Massive columns with shallow broad flutes, they go down into the floor of the temple

the capitols at the top are symbol

Building was covered with sculpture, a frieze that ran around all four sides of the building, which is an ionic feature

there were four ionic columns inside the west side of the temple

4 mins in

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Hellenistic Period

Lacoon was a trojan priest, he knew the gift that arrived outside of the city from the greeks was a trick and tried to warn the city

It was found in fragments, so could be wrong

The gift was a wooden horse filled with greek soldiers

A goddess who was a protector of the Greeks didn't like this, so she sent serpents to strangle him and his sons as a punishment

We thought it linked up to literature from Ancient Rome, someone saw it in the emperors palace, but historian was convinced it was from the classical period

The sculptures names were linked to the 1st century.... butvvvv

It is full of dynamism, his body if writhing, there's agony, the serpents are muscular, there's a power here,

we don't associate this style with the greeks but with he hellinistics

similar to what we see on the alter of pergamom, the way the figures move into our space and interact with us

the sense of tragedy is so dramatic, emphasis on the diagonal

The figure twists in space, his torso moves to right and legs to the left, it's very expressive of the body

Terrible pain and agony, but the simultaneous sense of beauty of the sculpture even as it's declining tragedy.

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800 Bc - 200 BC ?

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520 BCE

Sarcophagus of the spouses

Large, ceramic container, and the two figures are a lid that can be lifted off

They're very life-like

Extending arms, moving into our space

They have a sense of intimacy

Made in terocatta, where as greeks liked marble

When It had begun to dry, the artist smoothes it with a hard surface to make it shiny

The arms are outstretch, likely they were holding objects relating to a banquet

or holding a perfume bottle, or a pomegranate,

There is a sense of sociability

They are not supposed to be seen as portraits, not what the couple looked like

Very Etruscan style, through smiles etc.

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509 BC - 330 BC

Republican period: c. 100 BC

Empire Period: 100 AD

Late Empire: 300 AD

509-- There out last Etruscan king

149 -- Rome overthrows Greece

46 -- Julius Caesar became perpetual dictator; civil war

44 BC -- Julius Caesar assassinated

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72-80 BCE

Empire period

It Maes us think about the death of the roman citizisation

Center of a vast palace that Nero built for himself f

100,000 blocks of travertine

Artificial lake inside

When it was rebuilt by a later roman emperor, it was a gift back to the city

Nero committed suicide

Next emperor, Vespasian

Was a colossal statue next to it

Classical orders staked on top of each other, corinthian, ionic, tuscan, from top to bottom

The archways we see the main architecture of roman art

Barrel vaulted rings that surround it

It has a complex interior structure of doors and stairways that take you to the level of your seats

Emperors and priests would sit in the front seats,

the top were women, foreigner and slaves

Animal hunts in the morning, brought animals to Rome and slaughtered them

Execution of prisoners - burnt to the stake or mauled by animals

This would happen during lunch hours

Floor was made of wood planks, trap doors to elevators that were operated manually by slaves

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117-25 CE

early Empire period

Best preserved ancient Roman monument

It's history is revealed in its surface, it's weathering, it shows

Originally a temple to god, then made into a church, also a tourist attraction

A complex history

It is higher elevation than it would have been in Ancient Rome

The columns are Unlike greek columns, they are not segmented but not cut

Inside, opens up to this vast circular space

an expression of the limits of our sight

The oculus is geometrically perfect enough you could fit a sphere inside

There is an obsession with circles, with rectangles, squares, geometrical shapes inside

Feeling that the barrel is independent from the dome

there is a thick barrel of concrete the supports the dome, since the dome pushes out

Roman architects had to think about how to support the weight and pressure of the dome

It allows for a vast uninterrupted space

It was bout the earthly sphere meeting the heavenly sphere

The oculus defies reason, how could there be a hole in the center of the dome?

It's the only light that comes into this space really

There is no glass, when it rains it gets wet

The light moves into the space, projects across the floor of the building as the sun moves, can represent heaven

It's almost like a sun dial

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Early 4th century CE

Late Empire Period

There is the head, elbow, finger pointing up, a foot, reminds of the marble sculpture of constantine

was 40 feet high, filled the end of the bascillica

Michelangelo

Constantine is the last person who ushers in christianity into he empire

We think his body had wood and brick and covered in gilded bronze

Interesting stylistic moment, people usually think of high classical moment with all of it's naturalism

You usually see realism and idealism so people know what an emperor so that you could recognize them but were also made to seem divine

Constantine doend't look like that here

It's an abstraction of the human body, abstraction of the oval eyes where they are reduced to geometric shapes, the way his eyebrows form a semicircle around his eyes, something looks geometric of his hair, which could show the symbolic way of representing that we see in early christianity era

he seems to be looking beyond us, not really here right now

this could be showing something of his divinity and heavenly

Different representation of different strata of society,

disproportionate, maybe stocky

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260 - 525

Chi Ro Monogram - Formed from the first two letters X and P of the Greek word for Christ. A symbol for Christ

Ichthus symbol - "Jesus fish" A sign used to proclaim an affiliation with Christ. Jesus(I) Christ(X) God(O) Son(Y) Savior(Z)

Orant position - Ancient Eastern position of prayer, standing with arms outsretched sideways, or bent elbow, with hands shoulder level and palms facing forward.

Clerestory - A level with windows. Upper part of the nave, choir, and transepts of a large church, containing a series of windows.

Martyrium - Building that holds remain of a martyr. Building or chamber used as burial place. Church shrine built over top of tomb

Tesserae - Small tiles of colored glass

Mosaic - A decoration on a surface made by setting small pieces of tile, glass, or stone in material to make patterns or pics

Nimbus - Circular area behind ones head, a symbolic attribute of holiness and divine grace

Nave - Central part of church building, intended to accomadate most of the congregation.

Aisle - portion of church or bascilia that parallels or or encircles the major sections of the churchs architecture

Gallery - Any covered passage that is open on one side

Narthex - an antechamber, porch, or distinct area at the western entrance of some early Christian churches. Usually opposite of the churchs main altar.

Apse - A semicircular recess, often covered with a hemispherical vault

Icon -

Iconoclast - Images destroyers

Iconophile - Supporters of icons

Psalter - A volume containing the book of psalms

Pantocrator - Ruler and judge of the universe

Ambulatory - continuation of the aisled spaces on either side of the nave (central part of the church) around the apse (semicircular projection at the east end of the church) or chancel

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Painted Ceiling, Catacomb of Santissimi Pietro e Marcellino, Rome, Italy

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Painted Ceiling, Catacomb of Santissimi Pietro e Marcellino, Rome, Italy

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4th Century CE

Catacomb, subterranean cemetery composed of galleries or passages with side recesses for tombs.

Isaac off to the right carrying wood,

There is a breaking bread scene like the last summer

Scene of three, First is women giving birth, the next is notherhood, the middle is ressurection

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Sarcophagus, Santa Maria Antiqua, Rome, Italy

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Sarcophagus, Santa Maria Antiqua, Rome, Italy

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ca. 270 CE

Update picture

Served as the tomb of relatively prosperous third century christian

Male philospher we see in the center of it is identifiable. The female figure besides him who holds her arms stretched out combines two different conventions. In Early Chrisitian art represent the "orant". This is the same gesture found in the catacomb paintings of jonah being vomited from the great fish and daniel in the lions den

In the left side, jonah is being represented sleeping under the ivy after being vomiited from the great fish. Has a greek pose with his arm over his head. The goos shoerd also is shown on the sarcophagus. On the far right, we see an image of the baptism of christ. This probably refers to the sacrament of baptism, which signified death and rebirth into a new christian life.

Their faces are unfinished, meaning that this was not made with a specific patron in mind

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Mausoleum of Galla Placidia, Ravenna, Italy. 

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Mausoleum of Galla Placidia, Ravenna, Italy. 

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425-50 CE

Has breathtaking mosaics, it's small on the outside made of reused roman brick

building it's self is in the shape of a cross, in the center is a shallowed dome covered in mosaic

The tessearai aren't smooth against the wall, so they catch the light and flicker

Saint on the right running towards the window, peiople beleive it is saint lawrence since he was burned to death

In his book is mark matthew luke and john

He looks as if he's an acnietn roman

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Mausoleum of Gall Placidia, Ravenna, Italy

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Mausoleum of Gall Placidia, Ravenna, Italy

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425-50 CE

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Good Shepherd, Mausoleum of Galla Placidia, Ravenna, Italy

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Good Shepherd, Mausoleum of Galla Placidia, Ravenna, Italy

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Has torsion position in his body, wearing a halo and turning his body in a natural way that;s very classical, but he looks roman.

Symmetrical

In here he looks young and beardless

Whole image has luminosity from the gold

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ca. 324-400 CE

"Old St. Peter's Basilica" refers to the earlier basilica that stood on the same site as the current St. Peter's Basilica in Vatican City, Rome, Italy. The original basilica had significant historical and architectural importance. Here are some key points about Old St. Peter's Basilica:

1. Construction and Early History:

Construction of Old St. Peter's Basilica began in the 4th century during the reign of Emperor Constantine the Great. The basilica was built over the traditional burial site of Saint Peter, one of the twelve apostles of Jesus.

It was consecrated in 329 AD by Pope Sylvester I, although the basilica underwent several phases of construction and renovation over the centuries.

2. Architectural Features:

Old St. Peter's was a massive basilica with a Latin cross plan. It had a nave, aisles, and an apse, along with a large atrium and a courtyard.

The basilica had a wooden roof and was adorned with marble decorations, mosaics, and numerous artworks.

3. Expansion and Renovation:

Over the centuries, various popes contributed to the expansion and renovation of Old St. Peter's. The basilica underwent changes in architectural style, reflecting the artistic and cultural trends of different periods.

The central nave was extended, and additional chapels were added. The facade underwent alterations, and new decorations were added.

4. Pilgrimage Destination:

Old St. Peter's Basilica became a major pilgrimage destination due to its association with Saint Peter. Pilgrims from all over Europe visited the basilica to pay homage to the apostle's tomb.

The basilica played a central role in the religious and cultural life of medieval Rome.

5. Destruction and Replacement:

By the 15th century, Old St. Peter's was showing signs of decay and structural issues. Pope Julius II initiated plans for a new basilica, and construction of the current St. Peter's Basilica began in the early 16th century under the direction of architects like Donato Bramante and later Michelangelo, Carlo Maderno, and Gian Lorenzo Bernini.

Old St. Peter's was gradually dismantled to make way for the new basilica, and the final portions of the old structure were demolished in the 16th and 17th centuries.

6. Current Site:

The site of Old St. Peter's Basilica is marked by a series of markers and monuments, including the Obelisk of Antares, which originally stood in the Circus of Nero and was moved to the current St. Peter's Square by Pope Sixtus V in 1586.

7. Legacy:

Old St. Peter's Basilica left a lasting legacy not only in terms of its architectural and artistic contributions but also in the religious history of Christianity. The current St. Peter's Basilica stands as one of the most significant and revered churches in the world.

While Old St. Peter's Basilica is no longer s

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ca. 359 CE

Pugan side

Putti (winged boys) harvesting grapes

Christina side

Scenes from the Old and New testament

The front - christ appears in top center with peter and paul beside him. Christ feet are supported by the roman god of the sky

columns with angelic figures with classical qualities to the,

The figures are all deeply carved

Arrest of christ, job in distress, adam and eve seperated by a tree.

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330 - 1,453

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San Vitale, Ravenna, Italy (inside, outside, plan, and mosaics)

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San Vitale, Ravenna, Italy (inside, outside, plan, and mosaics)

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526-47 CE

Update picture

It is a church that's centrally planned, where it's planned around the center vs a bascillica

Exterior is voloered with arched winows, inside has mosaic

Apse shapes that support the columns

Eastern end is covered in dense mosaics.

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In the apse you see christ dressed royally in purple sitting on an orb of the universe, with angels on both sides of him. on one side is ecclesius handing church to angel

every corner has imagery

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Above the alter we see the lamb of god wearing a halo, this idea of christ as the sacrificial christ.

He's wearing a halo, the lambs surrounded y a reef of victory

the wreath is held in place by four angels

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See christ again but bearded in the archway

triumphal arch

his body is surrounded by a mendorial halo, on each side are the fourteen figures apostle

See christ bearded in the archway his body us surrounded by a rainbow halo, and the fourteen apostles around him

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It has 8 sides, an octagon, has one part that rises higher

Walls are pierced with lots of windows

They contain some of the best mosaics

Apse-like shapes supported by columns move around you

Real delicacy, doubled columns, move in and out

Eastern end is covered in dense mosaic

They are gold and reflect the light

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Hagia Sophia, Istanbul, Turkey - (inside, outside, plan)

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Hagia Sophia, Istanbul, Turkey - (inside, outside, plan)

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532-537

Church, burned during riots, this was a way for him to express his power and get people to work.

Standing at the bottom is like standing at the bottom of a canyon

He asked his architects to do something different than a biscillica

Really high dome sitting on a round barrel, they did this with a pendentive. It's like a triangle but it's curved, and hide cillars that are holding the weight of the dome. Have smaller half domes around it. Pierced base of the dome with 40 windows.

The upper area that's not covered in mosaic, is covered in gold stone

Marbles are embedded into the walls, the patterns are mirrors,

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt

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Christ, Monastery of St. Catherine, Mount Sinai, Egypt

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6th century CE

The Monastery of St. Catherine, located at the foot of Mount Sinai in Egypt, is one of the oldest continuously functioning Christian monasteries in the world. It is officially known as the Sacred Monastery of the God-Trodden Mount Sinai. The monastery is closely associated with the biblical figure of Moses and is believed to be the site where Moses encountered the Burning Bush and received the Ten Commandments.

Monastery of St. Catherine: The art style in the Monastery of St. Catherine is typically Byzantine, characterized by rich iconography, intricate mosaics, and a sense of divine solemnity. Byzantine art often emphasizes spiritual symbolism and the transcendence of the divine.

Church of the Dormition, Daphni, Greece: The art in Daphni follows the Byzantine tradition as well, featuring detailed mosaic work. The mosaics are known for their elegance, classical influence, and the use of gold backgrounds to convey a sense of heavenly radiance.

Monastery of St. Catherine: In Byzantine art, Christ Pantocrator (Ruler of All) is often depicted as a majestic figure with a stern expression, holding a book representing the Gospels and making a gesture of blessing. The emphasis is on the divine authority of Christ.

Church of the Dormition, Daphni, Greece: The Christ Pantocrator mosaic in Daphni follows a similar depiction, with Christ's face surrounded by a halo, conveying a sense of divine wisdom and authority. The eyes of Christ are often shown with a penetrating gaze symbolizing omniscience.

Monastery of St. Catherine: The surroundings of the Christ Pantocrator in St. Catherine's might include symbolic elements such as angels, saints, or scenes from the life of Christ.

Church of the Dormition, Daphni, Greece: The Daphni mosaic may include additional iconographic elements like angels, the Virgin Mary, and other saints, contributing to the overall theological narrative.

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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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late 13th-century CE

he term "Madonna Enthroned" typically refers to a type of religious artwork that depicts the Virgin Mary, often with the infant Jesus, seated on a throne as a symbol of her role as the Queen of Heaven. This type of representation became prevalent in Christian art during the Middle Ages and the Renaissance. Various artists have created Madonna enthroned paintings, and these works often exhibit similar themes while also reflecting the individual style and interpretation of the artist. One famous example is "Madonna Enthroned with Child and Two Angels" by Giotto di Bondone. Here are some general artistic details often associated with Madonna enthroned paintings:

1. Central Composition:

The Virgin Mary is typically positioned at the center of the composition, seated on a throne, and holding the infant Jesus in her lap. This central placement emphasizes her importance.

2. Throne and Symbolism:

The throne is often decorated with ornate architectural elements, emphasizing the regal and divine nature of the Virgin Mary. The symbolism of the throne reinforces Mary's role as the Queen of Heaven.

3. Angelic Figures:

Angels are frequently depicted in Madonna enthroned paintings, often flanking Mary and Jesus. They may be shown in adoration, playing musical instruments, or holding symbolic objects.

4. Gesture and Expression:

Mary's gestures and expressions convey a sense of grace, humility, and devotion. She may be shown looking down at the infant Jesus or making a gesture of blessing.

5. Jesus as a Child:

The infant Jesus is a central figure, symbolizing the divine nature of Christ. He is often depicted reaching out to his mother or blessing the viewer.

6. Halos and Divine Light:

Halos, indicating the divine nature of the figures, are commonly present. The use of light and a sense of radiance around Mary and Jesus symbolizes their spiritual significance.

7. Symbolism in Accessories:

Various symbolic objects may be included, such as a lily (a symbol of purity), a book (symbolizing wisdom), or a globe (representing Christ's dominion).

8. Rich Color Palette:

Madonna enthroned paintings often feature a rich color palette, with vibrant hues used for the clothing of Mary and the angels, as well as the architectural elements.

9. Gold Leaf and Decorative Patterns:

Gold leaf is frequently employed to enhance the sense of divine splendor. Decorative patterns, such as intricate designs on Mary's clothing, contribute to the overall visual richness.

10. Religious Narrative:

Madonna enthroned paintings serve not only as devotional objects but also as visual narratives of religious stories. The scenes often reference biblical events and convey theological messages.

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640 - 900

Theme: Equality of the arts

The arts that were produced in the lands where islam was the dominant religion

Mihrab - A niche in the wall of a mosque

Qibla Wall - Wall in a mosque that faces mecca, usually highly decorated and often embellished in inscriptions from the Qur'an

Kufic Script - A style of Arabic script and was used to read the Qur'an

Minaret - (Arabic: beacon) The tower from which the faithful are called to prayer five times each day by a muezzin, or crier. This tower is always connected to a mosque and has one or more balconies or open galleries.

Horseshoe Arches -

Voussoirs - A wedge shaped or tapered stone used to construct an arch

Iwan - An iwan is a vaulted space that opens on one side to a courtyard. A rectangular hall or space, usually vaulted, walled on three sides, with one end entirely open.

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AD 1354 - 55

Used to identify the wall that faces mecca (the birthplace of islam).

The size of a small room

Gold tesserae creates a combination of dark blues, reddish browns, yellows, and gold that form intricate calligraphic bands and vegetal motifs that adorn the arch.

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690 and Later

The Dome of the Rock, as a specific architectural and artistic monument, falls within the broader context of Islamic art and architecture. Here's a brief art history summary focusing on the Dome of the Rock:

7th Century:

The Dome of the Rock was commissioned by Caliph Abd al-Malik and built between 685 and 691 CE in Jerusalem during the Umayyad Caliphate.

The structure was part of a larger architectural and religious project on the Temple Mount, which also includes the Al-Aqsa Mosque.

Architectural Features:

The Dome of the Rock is an exemplary piece of early Islamic architecture, featuring an octagonal plan with a large dome at its center.

The exterior is adorned with intricate geometric patterns, calligraphy, and colorful ceramic tilework, showcasing the early Islamic artistic emphasis on intricate decoration.

Religious Significance:

The Dome of the Rock holds immense religious significance in Islam. It is associated with the Night Journey and Ascension of the Prophet Muhammad, as well as other events in Islamic tradition.

The rock inside the dome, known as the Foundation Stone, is believed to mark the spot from which Muhammad ascended to the heavens.

Cultural Context:

The construction of the Dome of the Rock occurred during a period of political and cultural flourishing in the Islamic world.

The architecture and decorative elements of the Dome of the Rock reflect a fusion of influences, including Byzantine, Persian, and late antiquity styles, demonstrating the cosmopolitan nature of Islamic art.

1. Location: The Dome of the Rock is situated on the Temple Mount, known as Haram al-Sharif in Islam, which is a holy site for Muslims, Jews, and Christians. The Temple Mount is also home to the Al-Aqsa Mosque.

2. Architectural Style: The Dome of the Rock is a masterpiece of Islamic architecture. It was built in the late 7th century and features a distinctive golden dome, intricate tilework, and beautiful calligraphy. The building is octagonal in shape and stands on a raised platform.

3. Religious Significance: The Dome of the Rock is revered by Muslims as the place where the Prophet Muhammad ascended to the heavens during the Night Journey. The rock inside the dome is believed to be the spot from which Muhammad ascended. Additionally, the shrine is associated with various events in Islamic tradition.

4. Construction: The construction of the Dome of the Rock began in 685 CE and was completed in 691 CE during the Umayyad Caliphate, making it one of the oldest extant Islamic structures. It has undergone several renovations and modifications over the centuries.

5. Architecture and Decoration: The exterior of the Dome of the Rock is adorned with blue and gold ceramic tiles, intricate geometric patterns, and verses from the Quran. The interior features a large central rock, known as the Foundation Stone, which holds religious significance in Islam and Judaism.

6. Access Restrictions: While the Dome of the Rock is an iconic symbol for both Muslims and non-Muslims, access to the interior is restricted to Muslims. Non-Muslim visitors are allowed to enter the Temple Mount complex but are generally not permitted inside the Dome of the Rock itself.

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Began 786

Is one of the oldest structures still standing from the time Muslims ruled Al-Andalus (Muslim Iberia including most of Spain, Portugal, and a small section of Southern France) in the late 8th century

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Madrasa of Ulugh Beg, Samarkand, Uzbekistan

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Madrasa of Ulugh Beg, Samarkand, Uzbekistan

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ca. 1435

The Madrasa of Ulugh Beg is an historic educational institution located in Samarkand, Uzbekistan. Here are some key details about this architectural and cultural landmark:

1. Founder and Construction:

The Madrasa of Ulugh Beg was commissioned and constructed by Ulugh Beg, the grandson of the famous Central Asian conqueror Timur (Tamerlane), who ruled over the Timurid Empire.

Ulugh Beg was not only a ruler but also a renowned astronomer and mathematician. His madrasa was constructed as both an educational institution and a center for the promotion of scientific and cultural endeavors.

2. Date of Construction:

The construction of the madrasa took place in the early 15th century, between 1417 and 1420. It was part of Ulugh Beg's efforts to promote intellectual pursuits and establish Samarkand as a center of learning.

3. Architectural Style:

The Madrasa of Ulugh Beg is an example of Central Asian Islamic architecture. It follows the traditional layout of a madrasa, with a central courtyard surrounded by living quarters and classrooms.

4. Decorative Elements:

The madrasa is adorned with intricate tilework, geometric patterns, and calligraphy, typical of Islamic architectural ornamentation.

The entrance portal and the facade of the building are particularly noteworthy for their artistic detailing.

5. Scientific Legacy:

Ulugh Beg, in addition to his role as a ruler, made significant contributions to astronomy. He established an observatory in Samarkand and created the famous "Ulugh Beg Observatory," where he and his team compiled the "Zij-i Sultani," a comprehensive star catalog.

The madrasa played a role in fostering intellectual pursuits, and Ulugh Beg's legacy as a scholar and astronomer is intertwined with the institution.

6. Restoration:

Over the centuries, the Madrasa of Ulugh Beg underwent periods of neglect and restoration. It has been carefully preserved and restored in recent times to maintain its historical and cultural significance.

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The Court of the Lions (Patio de los Leones) is one of the most iconic and exquisite features of the Alhambra, a palace and fortress complex located in Granada, Spain. The Alhambra was built during the Nasrid dynasty, the last Islamic dynasty in the Iberian Peninsula, during the 14th century. The Court of the Lions is renowned for its stunning architectural and artistic details. Here are some key aspects:

1. Layout and Design:

The Court of the Lions is a central courtyard surrounded by a colonnaded gallery, and it is named after the twelve marble lions that are part of the central fountain.

The courtyard is a harmonious blend of Islamic art and architectural principles, featuring a central axis and meticulous symmetry.

2. Fountain and Lions:

At the center of the courtyard is a large, alabaster fountain supported by twelve sculpted marble lions. The lions are arranged in four groups of three, with each group positioned at the points of the compass.

The fountain symbolizes the four rivers of paradise, and the lions are both functional and decorative elements.

3. Colonnades and Arches:

The courtyard is surrounded by a gallery of slender columns with double-tiered horseshoe arches, a characteristic feature of Islamic architecture known as the Mocárabe arch.

The arches are intricately decorated with stucco work and delicate geometric patterns. The stucco is carved with epigraphic and geometric designs, showcasing the exquisite craftsmanship of the artisans.

4. Courtyard Pavements:

The pavement of the courtyard is adorned with geometrically patterned tiles, creating a visually stunning mosaic. The use of tiles is a distinctive feature of Andalusian Islamic art.

5. Palace Rooms:

Surrounding the courtyard are several rooms and chambers, including the Hall of the Abencerrajes, the Hall of the Kings, and the Hall of the Two Sisters. These spaces feature elaborate stucco decoration, muqarnas (honeycomb-like decorative elements), and beautiful tilework.

6. Epigraphy:

The walls of the courtyard are adorned with inscriptions from the Quran and Nasrid poetry, adding a layer of cultural and religious significance to the space.

7. Symbolism and Function:

The Court of the Lions served both practical and symbolic functions. It provided a central open space for relaxation and social gatherings while also representing the idea of paradise on earth through its design and symbolism.

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1650

Shah Jahan was the fifth ruler of the Mughal dynasty. During his third regnal year, his favorite wife, known as Mumtaz Mahal, died due to complications arising from the birth of their fourteenth child.  Deeply saddened, the emperor started planning the construction of a suitable, permanent resting place for his beloved wife almost immediately.

was called the luminous tomb

White-marble mausoleum, flanked on either side by identical buildings in red sandstone. One of these serves as a mosque

It's a symbol of love

The marble structure is topped by a bulbous dome and surrounded by four minarets of equal height.  While minarets in Islamic architecture are usually associated with mosques—for use by the muezzin who leads the call to prayer—here, they are not functional, but ornamental, once again underscoring the Mughal focus on structural balance and harmony.

The interior floor plan exhibits the hash bishisht (eight levels) principle, alluding to the eight levels of paradise

Eight halls and side rooms connected to the main space in a cross-axial plan, the favored design for islamic architecture

Qu'ranic verses inscribed into the walls of the building

dominant theme of carved imagery is floral, another link to the theme of paradise

Char bath gardens

are divided into four main quadrants, placed along a river

The Taj Mahal is an iconic white marble mausoleum located in Agra, India. Commissioned by the Mughal emperor Shah Jahan in memory of his favorite wife, Mumtaz Mahal, the Taj Mahal is considered one of the most beautiful buildings in the world. It is renowned for its exquisite architecture, intricate artistic details, and symbolic significance. Here are key artistic details of the Taj Mahal:

1. Architectural Style:

The Taj Mahal is a prime example of Mughal architecture, which is a fusion of Persian, Islamic, and Indian architectural styles.

The mausoleum is set within a large garden and features a symmetrical layout, with a central structure and four minarets at each corner.

2. White Marble Construction:

The main structure of the Taj Mahal is constructed from white marble, quarried from the Makrana mines in Rajasthan. The use of white marble gives the monument its distinctive appearance and is a symbol of purity.

3. Dome and Finial:

The central dome is a prominent feature of the Taj Mahal. It is bulbous in shape and topped with a gilded finial. The finial is often interpreted as a representation of a lotus, a symbol of purity and creation in Hinduism.

4. Inlay Work (Pietra Dura):

One of the most stunning artistic details of the Taj Mahal is the extensive use of inlay work, known as pietra dura. This technique involves setting semi-precious stones into the marble to create intricate patterns and designs.

Floral motifs, geometric patterns, and calligraphy from the Quran are skillfully incorporated into the marble surfaces.

5. Symmetry and Balance:

The Taj Mahal is celebrated for its perfect symmetry. The design ensures that all elements of the structure are mirrored on either side of the central axis, creating a sense of balance and harmony.

6. Minarets:

Four minarets surround the main structure, each standing at a slight angle to prevent damage to the tomb in case of collapse. The minarets are adorned with intricate details and feature a subtly tapering design.

7. Calligraphy:

The Taj Mahal features inscriptions from the Quran in calligraphy, particularly on the entrance arches and the tombstones within the mausoleum.

The calligraphy is done in a skillful manner, seamlessly integrating with the overall decorative scheme.

8. Reflecting Pool:

In front of the Taj Mahal is a large rectangular reflecting pool that enhances the visual impact of the monument. The reflection of the mausoleum in the water contributes to its sense of grandeur.

9. Gardens and Layout:

The Taj Mahal is surrounded by carefully planned gardens with pathways and fountains. The gardens are divided into quadrants by water channels, adding to the overall sense of symmetry and order.

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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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Bichitr was an Indian painter active during the Mughal era in the early 17th century, known for his work on the "St. Petersburg Album." One of his notable paintings from this album is titled "Jahangir Preferring a Sufi Shaikh to Kings." The painting, created between 1615 and 1618, is an example of Mughal miniature painting and is now part of the collection at the State Hermitage Museum in St. Petersburg, Russia.

Here are some details about the painting:

1. Title and Theme:

The painting is titled "Jahangir Preferring a Sufi Shaikh to Kings." It depicts the Mughal emperor Jahangir in a scene where he shows preference for a Sufi Shaikh (a Muslim mystic or spiritual leader) over worldly kings and rulers.

2. Composition:

The composition is complex and richly detailed, with multiple figures arranged in a hierarchical manner. It reflects the Mughal tradition of depicting court scenes and portraits with precision and attention to detail.

3. Jahangir's Depiction:

Emperor Jahangir is portrayed at the top of the composition, seated on a canopied throne. He is shown holding a wine cup, emphasizing his reputation as a connoisseur of the arts and a patron of the courtly lifestyle.

4. Sufi Shaikh's Presence:

Positioned prominently beside Jahangir is a Sufi Shaikh, indicating the emperor's respect for spiritual and religious figures. This inclusion highlights the emperor's interest in mysticism and his belief in the spiritual realm.

5. Other Figures:

The painting features various courtiers, European envoys, and representations of kings from different regions of the world. Each figure is meticulously rendered, showcasing the artist's skill in capturing diverse facial features and costumes.

6. Inscription and Calligraphy:

The painting includes inscriptions in Persian, providing information about the depicted individuals and the context of the scene. Calligraphic elements, common in Mughal miniatures, contribute to the overall aesthetic.

7. Use of Color and Gold:

Bichitr employed a vibrant color palette, and gold leaf or gold paint was used to enhance the luxuriousness of the scene. Gold highlights add richness to the textiles, jewelry, and architectural elements in the composition.

8. Cultural Significance:

The painting reflects the Mughal fascination with cosmopolitanism, as it includes representations of people from different cultures and regions. It also underscores the emperor's interest in spiritual matters and the cultural diversity within the Mughal court.

9. Mughal Miniature Painting Tradition:

The painting is an example of Mughal miniature painting, characterized by intricate details, precise brushwork, and a focus on narrative storytelling. Mughal artists often worked on a small scale, creating highly detailed scenes with exquisite precision.

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476 - 1,000

Anglo-Saxon: 600 AD

Hiberno-Saxon: 700 AD

Viking: 800 AD

Carolingian: 800 AD

Ottonian: 1000 AD

combines metal-work animal style of
Anglo-Saxon art with Christian
themes

Cloisonne - "fenced in" (outlines with garnet and enamel)

Illuminated manuscript - More words than an illustration

Initial page

Carpet Page - a full page in an illuminated manuscript containing intricate, non-figurative, patterned designs.

Miniaturist - artist (illuminator)

Scriptoria - a room set up for writing, especially one in a monastery where manuscripts were copied

Codex - an ancient manuscript text in book form

The four evangelists - Matthew, mark, Luke, and John

Westwork - An entrance area at the west end of a church with upper chamber and usually with a tower or towers. It is normally broader than the width of the nave and aisles.

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Gold Buckle, from the Sutton Hoo ship burial 

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Gold Buckle, from the Sutton Hoo ship burial 

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Anglo-Saxon

First half of the 7th century

I inches

A royal burial, King Raewalds?

o   Ship was disintegrated

o   Would have been attached to a belt

Black background

One of the only god pieces found in the burial site

reflects value attached to it

decorated with granulation, beads of gold bonded to the surface, as well as inlaid niello, the dark material that is set into incisions in the metal surface

sets off the intricate interlace designer composed of lines and dots

Niello is a sulfur alloy of silver, copper , or lead

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Purse Cover, from the Sutton Hoo ship burial 

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Purse Cover, from the Sutton Hoo ship burial 

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Anglo-Saxon

First half of the 7th century

Interlacing animal style

We see a heroic human figure with animals, wolves, on both sides

Opposite there is an eagle attacking a duck

The fierce creatures are perhaps a powerful evocation of strength, courage, qualities that a successful leader of men must possess

Millefiori = canes of glass, out them together and slice them to made beautiful fields,. a thousand flowers

Used to establish status at this time

Made to cover a leather pouch containing cold coins

Hung by three hinged straps from the waist belt and was fastened by a gold buckle

Lid was probably made of whalebone

o   Cloisonne: “fenced in” (outlines with garnet and enamel)

-       Hinged Clasp:

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Hiberno-Saxon

ca. 680

o   Pays attention to the geometry of the art

Man- symbol of saint Matthew

He doesn't look like a man, more like a symbol

to an Irish it is irrelevant what he actually looks like

he is here for an aid, to focus/ concetrate your prayer

The border has color and movement, which was cement during early medieval

reds, yellows, blues, greens,

The point of the border is to give you a visual / meditative guide

The abreast

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Cross Page, from the Lindisfarne Gospels

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Cross Page, from the Lindisfarne Gospels

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Hiberno-Saxon

ca. 700

Attributed to one person: Bishop Eadfrith

wrote this book for God

Referred to as a carpet page

Detailed and intwined decorations that make a cross

Known for its color, interlacing, similar to the gold buckle metal work

Used as internal cover to make each gospel its own separate book

animal and bird head woven into image, hiberno Saxon style

from Ireland

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St. Matthew, from the Lindisfarne Gospels

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St. Matthew, from the Lindisfarne Gospels

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Hiberno-Saxon

ca. 700

evangelist writing, with a winged man

one of the authors is st. Matthew, he is writing the book

His head is surrounded by halo

He is at a certain perspective and pose, referencing naturalism that comes from Ancient Rome and greek

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Chi Ro lota page, from the Book of Matthew, Book of Kells

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Chi Ro lota page, from the Book of Matthew, Book of Kells

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Hiberno-Saxon

ca. 800

Dense with decoration,

X (Chi)

P (Rho)

I (lota)

the first three letters in Christ's name in greek

The x swoops diagonal from right to left,

there area angels, birds, animals, human heads, two cats that have caught mice that are biting a wafer that translates at Christs body during mass

very precise, little room for error

Very intricate interlacing and spirals throughout it, that you find in ireland

Every time you look, you see something new

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Animal Head, from the Oseberg burial ship 

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Animal Head, from the Oseberg burial ship 

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Viking Art

ca. 834

oseburg ship is a well-preserved ship discovered in a larger burial mound at oseburh.

Found on burial ship

Detailed carving on side of head is called - interlace style

"In Oseberg art, animal motifs—which included birds, human faces sometimes thought to be masks (such as we see on the Oseberg burial cart), and the gripping beast—appear short and stocky, nearly equal in size, have rounded eyes, and tendril-like limbs. These schematic figures are situated within fields that divide surfaces into clear segments and emphasize the balance and organization of images. With mixtures of high- and low-relief carvings flooding their surfaces in tightly interlacing ornament, very little background is visible.

For example, the “Academician’s” animal head post is one of five wooden animal-headed posts found in the Oseberg ship burial. Although the purpose of these objects remain unclear, their detailed carvings demonstrate advanced woodworking skills."

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?) 

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Equestrian Statue of a Carolingian Ruler (Charles the Bald?) 

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Carolingian Art

9th century

A Carolingian-era equestrian statuette in bronze depicting either Charlemagne or his grandson Charles the Bald, a rare example of surviving Carolingian sculpture in metal

The statuette consists of three parts: the horse, the rider's body with the saddle, and the rider's head. It has a total height of 24 cm. The rider is depicted with a moustache, an open crown on his head, a sword in his right hand (lost), an imperial orb in his left hand, and a riding cloak fastened with a fibula. It was most likely made around 870, i.e. during the reign of Charles the Bald. Carolingian metalwork continues the Gallo-Roman tradition of casting and takes as its templates the equestrian bronzes of the Roman imperial period, such as the Equestrian Statue of Marcus Aurelius or the Regisole of Pavia.

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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 Art

Coronation gosepls were discovered in Charlemagne's tomb within the palatine chapel

he had been buried enthrones, sitting up, with the gospels in his lap

The manuscript is a luxury object, written in gold ink on purple-dyed vellum

The artists of the coronation gospel were interested in the revival of classical styles

the classical style is evident in the poses and clothing of the four evangelists

He most likely had this book made before he was crowned emperor

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims ca. 916-35

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St. Matthew, from the Gospel Book of Archbishop Ebbo of Reims ca. 916-35

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Carolingian Art

Ebbo gospels are most famous for their distinctive style in contrast to contemporary Carolingian illuminated manuscripts.

The ebb gospels were made for ebbs the archbishop of rheims, which was one of the major sites for the manuscript production at the time

While the author portraits in the ebb gospels are consistent with the elements of classical revival (modeling of figures to make them appear three-dimensional, gradation of the sky, the architecture and furnishings) the style in which the images of the ebb gospels are executed is a notable departure.

the brushwork of the portraits can be described as energetic, expressionistic, even frenzied.

the artist remains attentive to the use of highlighting and shadow to create 3D forms, but also does so with textured rather than smoothing modeling, which creates an effect of movement

This is also shown in the composition -- in EBbO, Matthew is hunched over as if frantically writing, while coronations is more upright and relaxed, his pen grazes his chin as if he is pausing in thought

The furniture in both is very similar, but in the coronation is seems to be a foiled g chair, while the ebbo is a more sturdy stool

The posture is similar - His right foot rests on the Fram of the miniature, and his left is flat on the base of his book stand. It ha a sense of stability and balance (coronation) In contrast, Ebbo the lines are dynamic and lack the same sense of equilibrium. Matthew right food is positioned on the steep, almost vertical, angle of his footrest. The book stand is tipped at such a drastic angle that is seems his book will slide right into the viewers lap. The energy is also expressed in Matthew’s face, which is drawn up in a furrowed brow. While the Coronation Matthew seems to take a peaceful moment of reflection, the Ebbo Matthew appears to be in anguish over his writing (image below), which is directed by his evangelist symbol, the winged man, who instructs him from the upper right hand corner of the image.

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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

This work functioned as...

a book cover

This portrayal of Christ primarily emphasizes... Christ's triumph over death

Charlemagne was trying to reestablish Constantine's empire

All the emphasis is on the outside

Carolingian representation og Christ

Here we don't see a sense of gravity or pain

we see a god that doesn't suffer, we only see a little bit of blood falling from his hands

he is tall and proud

Most likely made for Charles the bald

The artists were looking back to the classical tradition through drapery and drapery folds, emulate that in their art

The bottom two figures are mourning christ - classical

Many jewels and pearls, that make this appear attractive, which have particular reference to the heavenly Jerusalem

how to drive to heaven, this book takes you there to salvation

unmidievial, no muscles on christ, but smoothes over

arches make up the shape of the cross, in a basilica structure

racoussay technique

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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

Bishop Bernward doors

He went on a pilgrimage to Rome and came back, then wanted to recreate the art

based on san sambina

Starting from the upper left corner we have eve. and the creation

below is presentation to adam

then the temptation, accusation, the expulsion, etc.

Old testament on left, new testament on right

Mary and the angel, christ an the crucifixion, etc.

Visual and thematic patterns left to right as well

(bottom left, book of genesis

bottom right, gospels)

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Doors of Bishop Bernward, Hildesheim Cathedral

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Doors of Bishop Bernward, Hildesheim Cathedral

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Insterior, with view toward the apse (after the restoration 1950-60) abbey church of St. Michaels

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Insterior, with view toward the apse (after the restoration 1950-60) abbey church of St. Michaels

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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 Art

Double-page opening is one of the most magnifi

Right:

Otto III is shown seated frontally crowned, and holding a golden orb and a scepter surmounted by an eagle

he looks out with hypnotic eyes, and is dressed in green and the imperial purple

he is flanked on either side by members of his court: on the right by those who fight (two members of the nobility who carry a sword, a lance, and shield) and, on the left, by those who pray (two members of the clergy who hold books).

Not a portrait that shows what he looked like, instead he is represented out of proportion with much smaller figures that flank him - indicating his status

represent his rule rather than reality

Left:

The pendant image depicts four personifications of the territories over which Otto ruled and who are shown bringing him tribute. They are identified as: Sclavinia (Slavic east), Germania (roughly Germany), Gallia (roughly France), and Roma (Rome). The device of the personification (whereby an abstract idea is represented by a human figure, usually a female one) goes back to classical art. There is a parallel between this scene and that of the adoration of the three magi (represented as crowned kings, a tenth-century innovation) bringing gifts to the infant Christ (represented on f.29 of the manuscript), which underlines the quasi-divine nature of the Emperor.

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Luke the evangelist

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Ottonian Art

influences by Middle Byzantine art, which had created the compassionate view of Christ on the cross

it has expressive realism

for the first time, a dead christ is represented on the cross.

Made of painted and gilded oak, carved in round forms

Emphasis on the arms and shoulders, making the pain seem almost unbearable

This work is far for its time because...

it depicts a crucifixion scene

This work emphasize each of the following:

The physical weight of Christ

The suffering of christ

The humanity of Christ

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1,000 - 1,150

Why would people got on Pilgrimage?

1. to express Christian devotion
2. to purify the soul and perhaps even
produce miraculous healing benefits.
3. to reduce time in purgatory
4. to gain forgiveness for a sin or crime
5. to travel and see some of the world

Santiago de Compostela - A city in Galicia, Spain, a major Christian pilgrimage site.

Barrel vault - An elongated or continuous semicircular vault, shaped like a half-cylinder. Also known as tunnel vault.

Compound piers - feature of a nave arcade designed for the support of arches and to bring arch and pier into harmony. like a complex column

Bays - the closest four columns in a standard building design.

Apsidiole - A small or secondary apse, one of the apses on either side of the main apse in a triapsidal church, or one of the apse-chapels

Ambulatory -

Transept -

Crossing -

Narthex - long, narrow, enclosed porch, usually colonnaded or arcaded, crossing the entire width of a church at its entrance

Nave

Reliquary - The container that contains relics

Cloister - covered walkway surrounding a large open courtyard providing access to other monastic buildings. basically a courtyard

Tympanum - The basically semicircular area enclosed by the arch above the lintel of an arched entranceway. This area is often decorated with sculpture in the Romanesque and Gothic periods

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.
An upright post forming the side of an opening, such as a door frame or window frame.

Groin vaults - A vault produced by the intersection at right angles of two barrel (tunnel) vaults. the creation of two barrel vaults that are crossed in the center at a right angle.

Campanile - bell tower, usually built beside or attached to a church

Mandoria - the almond-shaped enclosure which is sometimes depicted around Christ or the Virgin Mary.

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bottom left: ribbed groin vault

Bottom right: dome

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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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1029-1040

This church dates back to the 12th century, although part of it already existed in 977. The building combines the Romanesque style with elements of transition towards the Gothic style. In this parish church we can find the Gothic tomb of Pere de Rovira, who took the reliquaries of Saint Vincent to Besalú in 1413.

The church has three naves with a transept and three semicircular apses. Inside, the difference of height between the central nave and the side naves captures the attention. They are separated by three arches resting on rectangular pillars, two on each side.

It is a construction combining the Romanesque style with features of the transition to the Gothic, as seen in the rose window, the main window and some side chapels. The architectural highlight is the decoration on the main and side doors, which contains winged animals and monsters ascending by the capitals.

In this parish church is the Gothic tomb of Pere de Rovira, who in 1413 brought the relics of Saint Vicenç to Besalú. Inside a Gothic side chapel is kept the reliquary of the true cross given by the Catalan politician Francesc Cambó in 1923, replacing the first that was given by Bernat Tallaferro, Count of Besalú, in 1017.

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In the interior, a barrel vault of stone covers the nave, which is flanked by two side-aisles. Along the nave, three transverse arches, which are evenly spaced, add support. Their arches continue down the piers as pilasters, complete with capitals at the springing of the arch. Rounded arches, supported by piers, open into the side aisles, which are covered with stone groin vaults. Above the nave arcade, small rounded lancet-shaped windows pierce the stone walls. The windows are evenly spaced over the arch openings.

A dome resting on squinches is over the crossing in front of the altar. The dome has an oculus opening at the top and small rounded lancet windows in the drum. This is the first known example of a basilica-plan church built with a dome in Western Europe, which represents the synthesis of sacred-building and meeting-hall typologies in the Roman tradition.

At the crossing, the nave meets the transept, which is actually slightly wider than the nave. The transept, however, is short, barely emerging from the sides of the church, but still giving the structure a typical cruciform plan. Beyond it, the aisles of the church terminate in three apses, each sized according to the size of the aisle.

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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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tomb of the apostle st. James

Porta Santa: The holy door - also known as the forgiveness door.

there are jambs with sculptures of people on it?

A pilgrimage to Santiago de Compostela was an expression of Christian devotion and it was believed that it could purify the soul and perhaps even produce miraculous healing benefits. A criminal could travel the "Way of Saint James" as an act penance. For the everyday person, a pilgrimage was also one of the only opportunities to travel and see some of the world. It was a chance to meet people, perhaps even those outside one's own class. The purpose of pilgrimage may not have been entirely devotional.

“Way of Saint James” to the Spanish city of Santiago de Compostela. They go on foot across Europe to a holy shrine where bones, believed to belong to Saint James, were unearthed. The Cathedral of Santiago de Compostela now stands on this site.

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Cathedral of Santiago de Compostela, Spain plan

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Cathedral of Santiago de Compostela, Spain plan

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Cathedral of Santiago de Compostela Inside

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Cathedral of Santiago de Compostela Inside

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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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1115-30

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Trumeau and Jambs, south portal, church of Saint-Pierre, Mossaic

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Trumeau and Jambs, south portal, church of Saint-Pierre, Mossaic

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Trumeau

On the front, the viewer is faced with three pairs of intertwined lions and lionesses who are there to symbolically guard the entry into the sacred space of the church. Such symbolism comes from Early Christian imagery where the doors to Christ’s tomb are often shown with lion’s heads on them.

On the east side of the trumeau is a representation of the Old Testament prophet Jeremiah (some scholars suggest it is Isaiah), who holds a scroll in his hands.

On the west side is a figure identified as St. Paul, from the New Testament.

The placement of these two figures on the sides of the trumeau was no doubt deliberate as they face two other figures on the door jambs (the outer walls of the portal where the doors are attached).  Across from St. Paul is a representation of St. Peter, also a New Testament saint (and the namesake of the church), and across from Jeremiah, is the Old Testament prophet Isaiah. The pairing of Old and New Testament figures was common during this period as a means of suggesting the fulfillment of Mosaic law (the law coming Moses) in the new Christian law under Christ.

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The trumeau has more than just a decorative function though as it is also supports the horizontal beam of stone above called the lintel.

The lintel is decorated with ten rosettes that are bound together by a carved rope and have a repeated floral pattern at both the upper and lower spaces between each rosette.

Notice that on both the left and right ends of the lintel, the rope and rosette design is coming from the mouth of a fantastical animal of some sort (image, above)!

Details such as these, with imaginative, hybrid animals are a common characteristic in Romanesque art from illuminated manuscripts to sculpture.

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Just above the lintel is the lunette-shaped (semi-circular) tympanum, which has the majority of the sculpted decoration (and this is true in most Romanesque and Gothic portals).  In this case, the tympanum is surrounded by three decorative archivolts (arches), which have various foliate patterns carved into the individual blocks of stone, known as the voussoirs, which make them up.

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Christ Enthroned, Tympanum, South Portal

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Christ Enthroned, Tympanum, South Portal

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In the very center of the composition is the figure of Christ, seated on a throne, with his right hand raised in gesture of blessing. In his left hand he balances a book on his knee, perhaps a reference to the Book of Revelation. His circular halo is inscribed with a cross (known as a cruciform halo), and we can just make out the suggestion of a larger, almond-shaped body halo (called a “mandorla” after the Italian word for almond) just visible as the pointed arch behind Christ’s haloed head.

Immediately to the left and right of the seated figure of Christ are the Evangelical Beasts, three animals and one human figure, who represent the four Evangelists who wrote the New Testament Gospels. Matthew, in the upper left, is represented by the winged man, Mark just below is shown as the lion, Luke on the bottom right is seen as the ox, and John the Evangelist is represented as the eagle. The representation of the four Evangelists as a tetramorph was common in sculpture, painting, and illuminated manuscripts.

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On either side of the Evangelical Beasts are two tall, elegant angels holding scrolls, as well as the twenty-four elders mentioned in the text from Revelations. They are arranged on three levels, two of which are divided by wavy lines, reminding us of the “sea of glass.” Each elder holds a small musical instrument in one hand and a chalice in the other (some of these have broken off over time). Very clearly all of the figures—man and beast—are turned toward the central figure of Christ, who stares serenely out toward the viewer. The twenty-four elders crane their necks and twist their bodies as do the Evangelical beasts. Even the lines of the drapery seem to be directing our attention toward the center.

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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

Looking up at the doorway, represents a scary image of the last judgement, and the damned of hell

It also includes heaven, but more people were looking at the hell

Start to see monumental sculpture on doorway at this time

The buildings were so detailed because of the relics that were held inside, and people were traveling to see these relics -- that they could heal the sick offer blessings if you pay homage to them

We imagine the faithful looking up at the doorway, reading about the last judgement

Images were text and meant to read

Christ in the center, bigger than everyone else, heirartical

hes so flat and linear, no concerns with proportions with body

lines carved into stone to show drapery, he's symmetrical, a divine figure who stares out into judgement

He sits on throne in city of heaven, his hands and hello and feet break mandaria

angels around him ushering him forward and holding up pandora, as if this round light has weight

their bodies are enlongated and move and twist in expressive way

On Christs left are the damned going to hell, on the right are the blessed being sent to heaven

Mary at the top next to angel blowing trumpet, we see the architecture of heaven itself

Left: Demons seem to tip the scale to take people into hell, morality has gravity

Demons are pulling people up by hooks into hell, and their faces realize this

Demons mouths gaping open, claws, three headed serpent, images of horror

Inscription right below, "may this terror, verify those who earthly error binds..."

Lintel is the moment where the dead are resurrected to be judged, a line waiting for the judgement and emerging from their tombs

one angel helping souls, and people clutching those angels hoping they'll help them

reference to pilgrims who had been to important relics so they might be among the blessed