Sumerian: ca. 3000BC

Akkadian: ca. 2000

Babylonian: ca. 1700

Assyrian: 700 BC

Late Babylonian: 600 BC

Persian: ca. 500 BC

Predynastic: c. 3000 BC

Old Kingdom: 2500

Middle Kingdom: 2000

New Kingdom: 1500

Amarna Style: 1350

Geometric: c. 700 BC

Orientalizing: 600

Archaic: 500

Classical: 400

Hellenistic: 300

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

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

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.

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.

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.

Pointed arches

Ribbed groin vaults

Flying Buttresses

Nave

Transept

Crossing

Aisles

Ambulatory

Nave Arcade

Gallery

Triforium

Celestory

Compound piers

Westwork

Jamb status

Cult of mary

Gothic "sway"

Stained glass

Tracery window

Rayonnant or court style

Flamboyant style

Fan vaulting (england)

Everybody was gathered together in their own communities

• mostly republics led by wealthy merchants

• The alps separated Italy with the majority of Europe

• a lot of classical Rome inspirations still around

• romanesque baptistries

• Admired the ancient art

• humanism comes about in this time - based on nature and human experiences as valid subjects of study

• Humanists looked to the past to solve problems

Mendicants orders

• "begging friars"

• Franscans, Francis of Assisi, 1209

• Order of Friars preachers (Dominicans) Dominic de Guzman, 1216

What was going on in 14th century?

• printing press

• Manufacturing and trade

• Scientific discoveries and exploration

• Education and humanism

What's new compared to gothic?

• no aisle, only a nave,

• murals on the wall

• less windows

• no gallery or triforium

Words to know:

Franciscan Order

Apron Scene

Painted Altarpieces

Tempera

Fresco

Pulpit

Tau cross of St. Francis

Republics vs. Duchies

Annunciation

ConceptsL Transition period, mixture of by Byzantine, gothic, and classical influences

Attention to detail

Religious symbolism

New naturalism

Oil paint: subtle effects of light and dark, modeling, greater details, glowing colors

Art can be owned by middle class (especially prints)

Mostly religious, also portraiture

Detaisl fo modern life (cityscapes, interiors, etc.)

Fantastical creatures/demons (Bosch, Schongauer)

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.

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.

• 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

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.

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.

     
     

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.

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.

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

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

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

Symmetrical

In here he looks young and beardless

Whole image has luminosity from the gold

"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

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.

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.

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,

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.

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.

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

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:

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

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

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

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

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."

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.

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

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.

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

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)

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.

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

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.

• 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.

• 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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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

1147
-influenced by byzantine
-rope like loops of drapery can be traced back to byzantine art
-but energetic rhythm unifying the composition in the corbie style has not been lost entirely
-quality of line/controlled contour betrays its ultimate source of Celtic-Germanic heritage
-influenced also by interlacing of lindisfarne gospels of early middle ages
-the human figures are based on carolignian and byzantine models
-dove of the holy spirit in the hand of God whispering into ear what he should write
-Abbot Wedricus has comissioned this gospel book and he is shown holding the inkpot for St John
-his symbol is the eagle
-other medallions show scenes from the life of st john

This illumination from the Gospel Book of Abbot Wedricus shows conventional emblems placed around the figure of St. John. The donor of the manuscript, Abbot Wedricus, is supplying the ink for St. John. The hand of God holds the dove, the traditional symbol for the Holy Spirit that serves as St. John 's inspiration. The eagle is the identifying symbol of St. John himself. The other circular pictorials show scenes from St. John's life.

• The Last Judgement scene is principally designed around an iconography known as the ‘Mouth of Hell’, the representation of the entrance to Hell as the mouth of a beast that swallows demons and the souls of the damned alike.

• The iconography developed towards the end of the 11th century in England and soon became a popular motif in art and literature across medieval Europe. It frequently appeared on the pages of illuminated manuscripts, where it featured in depictions of the Fall of the Angels, the Harrowing of Hell, and the Last Judgement.

The Winchester Psalter’s depiction of the hell-mouth is one of the most elaborate to survive from this period. It shows two gigantic creatures, with hairy bodies and bloodshot eyes, whose mouths meet to form a single gaping maw at the centre of the page. Within the dark abyss of the maw, we see horned devils and demons carrying whips, flails, and pitchforks, corralling a shifting mass of naked sinners. The crowd includes figures from all parts of medieval society, from kings and queens in golden crowns, to monks with tonsured heads, to lay people.

Overlooking the hell-mouth in the centre, a pair of dragonheads emerge from the folds in each creature’s neck, their long fangs forming the hinges of the red gates of Hell, which an archangel then locks with a large key. Meanwhile, a caption at the top of the page, written in Anglo-Norman French, states, ‘Ici est enfers et li angels ki enferme les porteis’ (Here is Hell and the angel who closes the doors).

• The centrally-planned, domed baptistery may have been intended to imitate the church of the Holy Sepulchre in Jerusalem.

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Dedicated to John the baptist

Tuscan romanesque style

White marble with green Prato marble

Intended for the liturgical function of baptism, also acted as cities cathedral

such a large building was required because vast crowds attended the administration of baptism, which only took place twice a year back then

• octagonal form

• Lower register has semi-pilasters, and the upper one polygonal columnss surrounded the arches

• Earliest foor The decoration of Andrea’s door consists of quatrefoil panels of Scenes from the life of St John the Baptist, with the Theological and Cardinal Virtues beneath

• The third, the rood and lantern are typical for 12 century, the west end is closed by a scarsella or alter recess

• The north door consists of twenty quatrefoils panels with scenes from the Life of Christ, the four evangelists and the doctors of the church, naturalist representation

• Third baptistery door called the "gates of paradise" by Michelangelo. Distrubted in ten large panels some of the principal scenes from the old testemtant from Adam and eve to the meeting of Solomon.

• The mosaics in the apse are by the Franciscan Jacopo di Torrita (1255). Covering the inside of the Baptistery with mosaic was a difficult and costly undertaking. Work possibly began around 1270 and continued until the beginning of the following century; according to some authorities, Venetian craftsmen were employed, certainly assisted by important local artists who supplied the cartoons, such as Coppo di Marcovaldo (who was responsible for Hell), Meliore, the ‘Magdalene Master’, and Cimabue (to whom the earlier Scenes from the life of the Baptist are attributed).

• it contains tombs of prominent individuals like pope

largest romanesque church

• a basilica with four towers and two domes, was founded as a flat-ceiling basilica by Konrad II in 1030, probably soon after his imperial coronation. It was rebuilt by Henry IV, following his reconciliation with the Pope in 1077, as the first and largest consistently vaulted church building in Europe. The Cathedral was the burial place of the German emperors for almost 300 years.

is an expression and self-protrayel of the abundance of imperial power during the sailan period

Incorporates the general layout of St. Michael of the Hildesheim and

• First known building to be built with a gallery that encircles the whole building. The system of arcades added during these renovations was also a first in architectural history

• Because of it's rich sculptures, it stands out among all contemporary and later romanesque churches in Germany & had an influence on the pattern of their ground plans and vaulting

• Perhaps the most famous of these is the Bayeux Tapestry. Within twenty years of the Norman Conquest of England, needle-workers embroidered dozens of scenes describing the invasion onto this 230-foot-long linen strip using wool and linen yarn.

• Between narrow upper and lower borders populated by animals, people and objects that act as a subtle commentary on the central narrative, a history of the Norman Conquest unscrolls from left to right, ending abruptly with a tattered, incomplete scene of mace-wielding Anglo-Saxon foot soldiers fleeing the victorious Normans. Embroidered Latin titles help to identify people, places and events.

• Scholars never found out who or where it was meant for

• In it, William is portrayed ordering his men to build a fleet of longships, stock them with arms and armor, food, wine, and horses, and set sail for England, where they feast, plan, and finally attack. The ensuing slaughter is unflinchingly rendered: in the lower border, dismembered bodies are stripped by battlefield looters.

• The style of the tapestry, with its gangly-limbed, beaky-nosed figures, agitated gestures, stolid drapery folds, abrupt changes in scale, and multicolored trees made of rubbery, interlaced fronds, has similarities to other works found on both sides of the Channel.

• Anglo-Saxon England and the Duchy of Normandy had been exchanging artwork, artists, clergy, and nobles well before the Conquest (their rulers were closely related—King Edward the Confessor’s mother, Emma of Normandy, was William the Conqueror’s great aunt).

Anglo-norman

Location: at a bend in the river by a steep slope

was built to contain relics of st. Cuthbert

Shrine was built for him, covered in jewels,

It is heavy, feels fortified

• dependent on the round arch

• decorative surfaces,

• Nave has massive piers that hold up the vault above, cylindrical pier and compound piers

• Cyndircal piers have decoration on them, chevrons, zig zags

• Stone maze, creating a continuous pattern

• Massive spiral columns that were left at st. Peters tomb

• They are closer to the tomb of St. Peter

• Above nave arcade is broad gallery, lead our eye up to gallery

• Arch is molded with chevron zigzag, which activates surfaces of stone and is lively

• In one of the aisles, you see double attached columns with interlacing above

• might be influenced by islamic art in Spain

The vaulting is early use of ribbed vaulting, goes back to ancient romans

• before stone vaulting, it was covered in wood

• allows for a space that's far more decorative

• shafts go down to compound pier which unifies the nave

Galilee - sets of four columns joined together to make it feel very light and open

this part of church has wooden and not heavy stone vaulting

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.

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.

• Pisa Cathedral, like San Miniato, borrows heavily from the architectural past. It has a basilica footprint with double aisles separated from the nave by colossal Corinthian columns, a trussed timber roof, and a single semicircular apse, all perhaps intended to recall Old St. Peter’s in Rome. Each of the arms of the 

  transept

• transept repeats this basic formula on a smaller scale, with single aisles flanking a central space that leads to a smaller apse, creating a four-armed groundplan. This and the substantial galleries below clerestory windows recall the basilicas of the early Byzantine east.

• The builders also added new features. Above the arcade and galleries and between the clerestory windows one finds expanses of cream and green striped wall. Although the pattern here is different from that found on the walls of San Miniato in Florence, both share the same complexity and conspicuous display of expensive materials.

• The Arno, the river that flows through Florence, eventually reaches the city of Pisa on its way to the Mediterranean Sea. In the Middle Ages, before the river’s silt deposits pushed the sea away, Pisa was located very near the coast. It was an important port city from Roman times onwards, and by the eleventh century it became a maritime republic (a city-state whose economic base was maritime trade), competing with the other Italian naval powerhouses like Genoa, Venice, and Amalfi to dominate Mediterranean trade. Pisa warred constantly with rival maritime powers in Corsica, Sicily, North Africa and on the Italian mainland. The cathedral for which it is now famous was built starting in 1063, in the wake of, and using booty from, Pisa’s naval victory over Palermo.

• Like most cathedrals on the Italian peninsula, Pisa’s was built as an assemblage of freestanding buildings, including a baptistery and bell tower (campanile) in addition to the church. The Pisa cathedral complex was unusual, however, in that it was situated well outside the city walls in a grassy precinct that incorporated an ancient cemetery. Surrounded by the marshes of the Arno, the precinct’s damp soil contributed to unstable ground under the complex’s key structures, most noticeable in the campanile, which began to lean even while it was still being built in the twelfth century.

Bottom right: dome

The church features early Gothic sexpartite vaulting over a modest clerestory, and may even have been the first church to be completely vaulted in this manner. Like the Romanesque churches it was designed to supplant, there was a gallery between the aisle arcades and the clerestory level.

• Finally, there is an interesting variation in the nave arcade supports – alternating piers and columns between the bays. This was not an innovation at Sens, but a very interesting stylistic choice.

• In addition to the architectural details, Sens contains some magnificent stained glass throughout the cathedral.

• There are four in particular that are remarkable – the choir ambulatory lancets that were created at the beginning of the 13th Century, probably from Suger’s school at Saint Denis. They tell the story of Saint Eustache,the Prodigal Son, the Good Samaritan and finally the story of Thomas à Becket and his martyrdom at Canterbury

Birthplace of the gothic

burial place of the royal families

light pours into the choir

This was a time when the kings power was expanding, wanted to create an architectural style that expressed the monarch

usually ambulatory at the back of the aisle so pilgrims could stop and look at stuff, but luges idea was to instead open up the space and allow light to flood in, was very different than anyone had ever seen before.

Instead of a set of walls pierced by windows like romanesque, he has engineered the structure in stone so the walls basically disappear and are made of stiained glass to make it illuminated.

• did this by pointed arches, can cover different shapes and sized

• doesn't push so much out as it does down, so the architect doesn't need to build thick walls

• brings a sense of elegance and openness than before

• don't feel the sense of gravity/rootedness as you did in the romanesque

this is heaven on earth, so this is to transport us to heaven on earth through art

made the divinity of light applicable t

light is connected to the divine, so he opened the walls allowing visitors to think and contemplate

the stained glass is not a distraction, but a way of transporting us to the divine.

ambulatory:

aisle that takes you behind the

A major destination at the time

It had the tunic that the virgin Mary wore when she gave birth to christ

This once was a school, hospital, home of the bishop

believed that learning about the world around us connected us to the divine

West facade has an early gothic facade

• portal is pierced everywhere

• windows are small on each side

• architects were still nervous about holding so much weight

• From left to right there are three parts, same with vertically

  
  

  At the top is the kings gallery

• old testament royal figures

  
  

  Rose window

• very typical of roman architecture

• plate tracery

  
  

  The three portals are covered in scultpure

  The top has sculptures in the archivolts

(West Facade)

symbol of theological power and worldly power

the church was a symbol of the French Revolution

Napoleon had been crowned here as emperor of France

Tallest cathedral when it was built in the world

Flying buttresses helped them do this, took the lateral weight that is produced by the massive stone roof, draws it outside the church so the inside of the church can be opened up to let as much light in as possible - glass is not weight bearing

Church has been under construction/renovation since it began

Gothic Courtly Style

late gothic period

Very emotional image

Mary holding dead son on her lap

so gruesome and violently death

gaping wounds in his hands and feet, drips out and explodes out of body

sharpness of the crown of thorns we can almost feel them

blood dripping down his face

This is the lamentation

artist focuses on this interaction

She has a furrowed brow, with anger and confusion

• usually we see her represented as the image of heaven, and has foreknowledge that his pain will be temporary

• Here she is looking at it how did the world go awry that god made flesh that could crucify

• This is a reflection of changing ideas, mysticism

• they contemplate the crucifixion and religion to connect to god on an emotional level and beliefs

• Comparing to madonna and child

  • she was above human emotions, but in this one is very emotional

We see some color, blood red and green drapery

it retains it's paint which is rare

religious images were there to bring the moment alive to the viewer

the thorns and blood for his face was to bring this moment to life

This was in a church environment, where prayers are being said, and the visuals are taking place

the viewer has an emotional journey, initial shock and horror, ti empathy, to Christ understands what I suffer.

They are angled inward, inviting you to enter the church

Looks like they are made from different artists, different column bottoms

They look as thought they are floating and in very still positions

represent old testament prophets and old kings and queens

Feet seem to be dangling down bit

not meant to look physical, meant to look beyond this earth and heavenly

• to beautify the church

• to teach the scriptures

• to light the church

• To transform the material stone into immaterial

• to transport the viewer to "heavenly Jerusalum"

The three part angle elevation is closed off

as ou walk down aisles, the churches complexity opens up

Sheets of light that float through celestory

Then the gallery has delicate columns that miraculously support

The first level, aisle, huge buttresses that was made into separate chapels

• bundles columns together

• it masks the weight

There is a soaring quality that feels like it's almost lifting you up towards the heaven

Bon

Byzantine influence

• halo

• angels are free floating

Narrative panels are kinda of Egyptian

Shading on this face is unique, sharp chiseled cheeks

• hints of 3D but also flatness

landscapes that are new in the panels

pull together greek manor: inspiration from the past, with stuff that makes us think forward into the future

15 feet tall

Artistic patronage: people will pay you to make art

He learned his craft is southern Italy during the rule of

It had trefoil arches - also seen in gothic illuminations

lions are supporting the columns

• classical columns

• panels of sculptures (remind of sarcophagus)

Daniel and the lions den or Hercules bc of the lion

Basilica plan

• burial of michealangelo

can accommodate 30,000 people at one time

there is a dome over the nave, gothic would have tower over crossing as highest point

Largest brick and mortar dome in the world

142 ft. diameter and

Cathedral walls are 140 ft. tall

Colored marble is an old Italian tradition

Facade of building wasn't completed until 19th century

What's like the gothic style?

• window

• three portals with pointed arches

• Tympanum and with sculptures

• pointing towards heaven

What's different?

• Star shape at the top

• No jamb figures

• Very geometric

• opposite shape : instead of two big towers on the side, it is a large tower in the middle and smaller ones on the side

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Compared to past doors:

Cimabue means bulls head, they would call him that because he was very stubborn and people didn't like working with him

naturalism

byzantine style throne, not much 3D, bilateral composition, gold, byzantine nose, Solomon expression

There is overlapping in it with the foot, showing an interaction in the space

Apostles reading scrips and looking up at Mary

bulkier drapery than we've seen

She is more dominant in the scene, she has a non-gaze at the viewer and zoned off

not really looking at anyone

sense of form under her clothing

Christ looks like a little man

• not really weighted on her, looks like he's floating

high decor on side

gold

if removed the halo, there would be a definition of architecture

Built as a statement of wealth and influence that Florence had

there was a competition between Florence and st. ana to show it's wealth

• Giotto designed the campanile

we have 3 apses instead of three apsidiles

last judgement on the entry wall

Buon fresco - true fresco, painted on wet plaster

secco fresco - it's applied after the fresco is dried

sinopia - they went on top of it and drew images on top of fresco to add the detail

Propoganda

Ornamentation around the sides

Differences:

material, sculpture looks more real

sculpture is more stubby, where the picture is more long

proportions aren't right, giant feet and giant head that don't make sense (sculpture

Sculpture is nude, which we moved away from for a while

Mary is main figure because she is the biggest

laying in similar pose to Etruscan sarcophagus

baby Jesus above and below, being washed symbolic of baptism

shepherds and sheep down at side

figures are crammed tightly together

when you look around, everything leads back to Mary, he was thinking about the composition making her the main figure

1297-1301

trefoil art, jamb figures, sculptures in the panels and stories

• similar to his dads, but also different

• Mary's pose, she's the biggest figure

• compact figures

Different:

• doesn't have the same control of your eye, things seem like they'r pointing to bottom right

  
  

John the Baptist on the right, Christ the left, then angel on the left

Holy Ghost above

He is shown in the water vs before he was shown on the water

Christ is nude

They look like they're floating

there is bulkiness to their body

classical proportions coming back

Believe that he could communicate to animals and that they would listen to them preaching

not so flat, there is a lot more dimension to the piece

little stories on the side of her service, all different parts of her life

not much 3D, which ties back to greek manor/byzantine style

decorative border

gothic similarities:

• similar to how they would have decorated their illuminated manuscripts details and colors

Comparing them to each other (st. Francis)

• tempera

• putting them in state of holy status

children climbing in trees

christ and his apostles

showing an isolated dignity of christ

looks 3D

• people are being eachother

• modeling of the figure

• christ is in profile, which is very roman, a noble pose, and he moves forward from left to right

to the side, we have image of Jonah being swallowed by the whale

giotto is a master of composition, draws your eyes to christ

-       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

• 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

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

International Gothic

King Richard the 2nd from England

• kneeling before Mary who's holding christ

• Mary is surrounded by angels

• His saints are John the baptist, Saint John the evnagelist, on the left is st. Edmund who holds the arrow

• orb on top of flag represents st. George or the resurrection

• Shows england under the protection of the virgin Mary and the child

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15th-century Flanders

1432

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

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

• 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

Old Kingdom

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

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

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.

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

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?

International Gothic

Very detaioed

You can see reflection in the mirror

microscopic detail

Arnolfini and his wife

Single candle, symbolizing christ

single dog symbolizing fidelity

Could have been a commemoration painting of his wife who dies in childbirth, but don't exactly know

The importance of marriage goes into it

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

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

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

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.

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.

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

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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

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

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

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.

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

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

every corner has imagery

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

• the wreath is held in place by four angels

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