Sutton Hoo purse cover 625-33

• hinges and clasp

• the piece has enamel

• when enamel is exposed to heat (fire), they fuse and give you a hard glass looking colored glaze.

• Ornamentation of monster like jackals that are attacking humans.

• Color and enamel are held in flat linear 2-D.

• BOTH pieces come from a burial area of the tomb of an anglo saxon king. Found at Sutton Hoo. Britain.

Book of Lindisfarne c.700

• the Roman scroll is REPLACED by the Early Medieval codex form (the idea of a book and pages)

• Highly decorative pages KNOWN as illuminated pages.

•  Lindisfarne Gospels. It was a volume of the bible containing the gospels Matthew, Mark, Luke, and John. 

• Written on parchment which will not decay. But it is thick in comparison like construction paper.

Utrecht Psalter c. 820-32

• Psalter contains the psalms and songs and books of poetry.

• Column of Trajan scroll type illustration

Aachen Cathedral  c.792-805

• Charlemagne crowned the Emperor of the Holy Roman Empire by the pope in Rome.

• Chapel mixes the central plan, ambulatory.

• Idea comes from San Vitale in Ravenna.

• Wants the chapel to look especially monumental.

• Alternating stone color in the arches (inside).

• Secondary balcony is no longer a separation of gender but rather class.

Hildesheim: St. Michael's 

1001-33

• massive stone structure (by their standards)

• two choir areas

• the western choir is raised to make room for the crypt.

• roofed by groin vaults

• stands out for its large scale and its careful integration with the rest of the buiding.

Hildesheim: St. Michael's, Door panel 1015

• large doors with scenes from the bible.

• Old Testament and New Testament scenes

• Adam and Eve in the Garden of Eden. The Fall of Man

• want the audience to fully understand the meaning.

• God (the Father) finds Adam and Eve. Wrathful God. Shoulders raised and finger pointing.

• Adam covering nakedness, but blaming Eve.

• Eve has to cover 2 naked areas and still point a the blame to the Serpent.

• Serpent has legs, wings,

• Adam and Eve punished by being cast out of the Garden.

• Serpent is punished by being forced to crawl on his belly.

• The serpents mode of transportation is completely altered. Slithering / crawling.

• Story is made accessible by elements in our own lives. Blame

St-Sernin c. 1070-1120

• Building material - cut stone.

• Curved arches that give it a “Roman” look. Although it is noticeably NOT Roman.

• All measurements were of local standard. Using the modular measurements based upon the center of the church.

• Long central isle (Nave)

• Two side Aisles on either side along the central nave. (You can tell by the Roof line.)

• Romanesque Rounded (Vaulted) Arches – used massively thick walls to hold them up.

• Architectural forms (Buttress) that are redistributing the forces.

• Side isles are exactly one have the length of the nave.

• Building Plan !!!

  •  

    • solid black line is a “Weight barring wall”

    • dotted lines indicate the “vaulted ceilings” The vaulting system is the ceiling BUT they the ceiling is NOT the same as the roof.

    • Dotted line crossing – faults running parallel and perpendicular “Groin Vault”

• space between the vaulted ceiling and the roof.

• Vaulting of the ceiling, empty attic area, then roof

• FRENCH love to build tall soaring spaces. Hight vaulted arches give that “soaring spacious feeling”.

• Western end is the front end of the church

St. Etienne, Caen 1068

• Caen, Normandy

• Rounded arches of the towers. . . caps of the bell towers are distinctly Gothic.

• Buttresses of the lower part of the bell tower to help provide support preventing the towers from buckeling.

• Wider central nave, flanked by side isles.

• Here, in addition to the transverse arch (arch across the nave). They also add diagonal arches.

• Create a vaulting system that will allow them to open space up to allow space for windows and natural lighting.

• FRENCH love tall soaring towers and open spaces.

• These churches are used to accommodate the relics of the saints.

• Ambulatory area allows spectators to view the small chapels in the back without disturbing the choir or on going service.

Sant'Ambrogio 

Milan, late 11^th and 12^th centuries

• different building material. They used local building materials.

• Brick was used instead of cut stone

• Classic rounded arches, of the Romanesque architecture

• Italians style ? Terracotta roof. As opposed to the slate roofs

• Bell towers are not connected to the church. They are instead off to the side.

• Ancient Roman inspirations

• Italians don't like the tall, open, soaring space interior (unlike the French)

Pisa Cathedral Complex 

1053 -1272

• Romanesque

• Columns . LOTS of them !

• Baptistry is a separate building.

• Leaning tower of Pisa (bell tower) is also a separate structure

• In Italy the bell tower is never built into the core structure of the church. Separate.

St-Pierre, Moisac

early 12^th century

• again the primary theme of Christ in Majesty

• remainder of the grace of God and the forthcoming Day of Judgment.

• distinct elements of the Portal

• figures around the central Image.

The Portal would later become the main area for sculpture in a church

• Refer to the Portal diagram [TEXTBOOK]

• membrane area above Lentil, called the Tympanum

• rounding the Tympanum is the Voussoirs.

• On the sides of the posts are the Jamb and Jamb column

• Trumeau in between the doors.

Portal Diagram

• trumeau (center column)

• column jamb

• jamb

• post

• lentil

• tympanum center overhead

• Voissoirs outer rings (archivolts)

Ghiselbertus : Last judgment , Autun Cathedral,

c. 1130-35

• judgment of Christ in tympanum

• ***nakedness represents idea that nothing worldly will determine you. It will be the inside, soul that will be judge. Same age as Jesus (33) also an equalizing factor on judgment day.

• Dead rising – crying cringing. Not sure of their judgment. Hands grabbing those rising, Angels or demons ?

• Cult of the Saints. Intervention of the Saints. They will be arguing for your soul along with angels.

• Weighing of the scales. Angels pushing down, Demons pushing down. Each trying to gain more souls.

St-Denis : Abbey Church ambulatory, Paris, 1140-44

• basically a Romanesque church
• BUT renovations were made on the Choir / Ambulatory area.
• Gothic rebuilding would go over the original damaged Romanesque structure.
• Pointed arches. Romanesque but pointed.
• Gothic pointed arches (possibly learned from Islamic architecture brought back from the east by the Crusades).
• Pointed arches allow you to vault over areas of intersection while maintaining structural integrity.
• Pointed arches allow for less buttressing but the same amount of support.
• Abbot Suger...responsible for the new architectural creation of the rebuilding.

Notre Dame Cathedral, Paris 

1163-1250

• great use of the pointed arches

• introduction of the use of the “flying buttress”

• The heavy ground bases are used as a base to the flying buttresses

• Flying Buttresses allow sunlight to go directly to the windows bringing more light to the interior. The same way the pointed arches allow for the windows to be placed.

• Flying buttresses introduced after construction had already begun.

Chartres Cathedral c. 1145-1220

• the reason they take such a long span of years to build is due to local boom and bust economic activity. NOT due to inability to build quickly.

• Flying buttresses were in mind when construction begins.

• Lighting struck the cathedral, wood “attic” area caches fire, Copper roof burns and melts to become brittle like chalk. Taken as a sign from heaven to rebuild on an even grander scale.

• Different colored stone. Showing the different time periods between early and later Gothic.

• Mismatching towers. . . modernizing. Shows the progression of the Gothic style.

• Same basic elements from the Romanesque churches

• double and triple flying buttresses are used. Allowing maximum amount of windows and light

• Stain Glass windows are a new innovation. Providing colored light on the stone. Transcendental mystical. Light as an architectural form.

• Example of the French “soaring walls with high pointed arches and vaults.

 Chartres, West (“Royal”) Portal, 1145-70

• different color of the stone. Due to the rebuilding after fire.

• Tympanum is pointed instead of being circular

• Allows for the distinction between the Earlier and later Gothic period

Chartes Cathedral

West Portal jamb figures, 1145-50

• vertical

• elongation and tall

• feet, almost like floating not standing

• extensions of the columns

• same facial structure

 Chartres Cathedral

South Transept Portal jamb figures, 1215-1300

• figures are not as elongated

• not so thin and tall

• no longer extensions of the column

• the feet rest on a base

• gives the figures a sense of weight and gravity, more naturalistic.

• They are characterized as different people through indicators (bishop, knight, monk, etc)

• Knights body breaks the vertical axis. Hip juts to the right. Shifting of weight.

• Still GOTHIC but is taking on characteristics of the Renaissance

Reims Cathedral c.1225-99

Reims Cathedral, West Portal 1225-45

• grand scale of portal windows

• indicates they are NOT weight berring.

• Portals are massive which are thickened to provide the architectural support

• Portals jutting out serve as buttresses that are holding up the wall.

• Larger than its predecessors (Notre Dame and Chartres).

Reims Cathedral, West Portal 1225-45

Information on figures.

Reims Cathedral, West Portal 1225-45

• grand scale of portal windows

• indicates they are NOT weight berring.

• Portals are massive which are thickened to provide the architectural support

• Portals jutting out serve as buttresses that are holding up the wall. 

Figures

• no longer isolated.

• The figures act in pairs (2 left and 2 right)

• they form a narrative.

• You can now identify the figures according to their stories.

Two different artist creating the figures.

• Clothing drapery style (less bunching and more)

 Reims Cathedral, West Portal 1225-45

Left Pair (Annunciation) [Gabriel announces the news of Jesus to Mary]

• Angel Gabriel (adaptation of the Greek Nike into the Angelic form)

• divine look

• body language pulls away and back, but carefully observes how she is taking the news.

• Mary

• (15-16 according to the narration)

• face of shock ! At the news

 Reims Cathedral, West Portal 1225-45

Right Pair (Visitation) [Mary and Elizabeth meet at crossroads, John starts kicking around]

• using facial features to distinguish between the two women.

• There look serves to indicate the story to the worshipers.

• Copying of the Roman antiquities.

• Mary (left) now with child.

• Look of divinity, pure, innocent virgin

• younger more youthful

• wearing of the stola (head garment) indicates that she is married

• Elizabeth (right)

• frail and old

• aged by the years.

• wearing of the stola (head garment) indicates that she is married

Salisbury Cathedral c.1220-70

• not integrated with a city

• English quality

  •  

    • of landscaping the surrounding areas.

    • Not tall soaring architectural, INSTEAD horizontal

    • Horizontal architectural forms. Pointed Arches, buttresses. Etc...

• Inside, the eye is lead horizontally (unlike the Vertical lines of the French)

• horizontal lines supersede the vertical lines

• even in their building plan, English want the horizontal. Transept is really accented to be horizontal. May even have more than one transept.

Ekkehard and Uta, Naumberg Cathedral, 1240-50

• NOT saints

• Ekkehard , local baron

• Uta (wife) was baroness

• Work done after their deaths

• an attempt to show characterize the Baron and Baroness. Making them individuals !

• Individualization, body build, clothing, massive sword,

• Creation of a type (characterization)

• DISNEY took Uta and made like “evil queen from Snow White”