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| A book containing the Psalms of the Bible |
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| A painted or sculpted or representation of the Virgin Mary mourning over the body of Christ |
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-part of a cathedral
-it was stronger and deflected weight down more so wouldn’t collapse, more sturdy
-shaped plans such as trapezoids. The other structural advantage is that the pointed arch
-gave a greater flexibility to architectural form |
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| -a container holding reics (the body parts, clothing or objects associated with a holy figure, such as the budda or Christ or a Christian saint) |
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| a Christian church that seats the head of the bishop, thus serving as the central church of the diocese |
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the writing studio of a monastery
-where books (illuminated) were scared and jealously guarded treasures located |
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Gaucher de Reims and Bernard de Soissons were responsible for the west facade carried the High Gothic style of Amiens
-difference between Reims and Amiens is the king’s gallery of statues is above the great rose window, and the figures stand in taller and more ornate frames
-openings in the towers and those to the left and right of the rose window are taller, narrower, and more intricately decorated, and more closely resemble the elegant lancets of the clerestory within
-pointed arch also frames the rose window itself, and the pinnacles over the portals are taller and more elaborate than those at Amiens
-most striking is the stain glass windows replacing the stone reliefs above the doorways
-example of HIgh Gothic style in sculpture
-statues and reliefs on the west facade celebrate the Virgin Mary
-Reims statues vividly illustrate how long it took to complete and entailed hiring many sculptors often working in different styles (3 different ones carved 4 statues) |
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-the Northern French descendants of the Vikings who, having driven the Arabs from Sicily, set up a powerful kingdom there
-enemies of the Byzatium, assimilated Byzantine culture and even employed Byzantine artisans
-incorporated in their monuments elements of the Islamic art of the Arabs they had defeated
-Norman’s Palace Chapel is one example of the rich interplay of Western Christian, Byzantine, and Islamic Cultures in Norman Sicily
-Basilican church of Monreale are striking evidence of BYzantine influence, mosaics required more than 100 million glass and stone teserae
-Norman king William II paid for the mosaics and the artists portrayed him twice in the church continuing the theme of royal presence and patronage
-The Monreale is a basilica, longitudinally planned in the Western Tradition
_the Monreale mosaics testify to the statue of Byzantium and of Byzantine art in the medieval Italy |
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| German, “western entrance structure”. The facade and towers at the western end of a medieval church, principally in Germany. IN contemporaneous documents the westwork is called a castellum (Latin “castle” or “fortress”) or turris (“tower”) |
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-The Book of Kells perfect example of the style
-most distinctive products were illuminated Christian books
-Books were the primary vehicles in the effort to Christianize Britain, Scotland, and Ireland
-excelled in metalwork
-characterized by a combination of these two traditions, particularly the Irish curvilinear motifs and elaborated initials and the Saxon zoomorphic interlacings and bright colouring
-concern for geometric design rather than naturalistic representation, love of flat areas of colour, and the use of complicated interlace patterns.
example Book of Kells |
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| -was similarly characterized by abstract patterning, but the ornamental vocabulary differed—interlacing patterns, including elaborate zoomorphic interlace, were common. The Anglo-Saxons had no tradition of painting or calligraphy, but they excelled in metalwork. The rich gold and jeweled examples that survive show their love of metallic brilliance and bright colour. |
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-one of the elements of the Gothic Architecture
-term applied to a circular window
-in all major cathedrals in northern france
st denis and Notre Dame |
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-generic term for the characteristics ornamentation of artifacts worn and carried by nomadic peoples who, for almost two millennia, moved restlessly to and fro across the vast, open grasslands that stretch from china into Western Europe.
-found on small metal objects that were portable and easily exchanged
-originating in prehistoric times, the decorative animal form appears in ancient Egypt and Mesopotamia
-the principle agents of the transmission of the style from East to West were the Scythians
-to take up space, geometric patterns |
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-Germanic peoples preferred methods of decoration
-technique that made Byzantine and of Near Eastern origin
-small metal strips usually of gold are soldiered edge-up to a metal background
-enamel paste or semiprecious stones, such as garnets, or pieces of colored glass are placed in the compartments thus formed.
-edges of the cloisons remain visible on the surface and are an important part of the design
-was prized and highly handed down from generation to generation
-given to vassals as gifts and tokens of gratitude |
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| The basic barrel vault, in effect a continuous series of arches, first appeared in ancient Egypt and the Middle East. Roman architects discovered that two barrel vaults intersecting at right angles (a groin vault) could, when repeated in series, span rectangular areas of unlimited length. Because the groin vault's thrusts are concentrated at the four corners, its supporting walls need not be massive. Medieval European builders developed the rib vault, a skeleton of arches or ribs on which the masonry could be laid. |
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A rib vault or ribbed vault is any vault reinforced by masonry ribs. A rib vault may be a quadripartite rib vault (which is divided into four sections by two diagonal ribs) and a sexpartite rib vault (a rib vault whose surface is divided into six sections by three ribs).
Most ribbed vaults are quite common in early gothic buildings, ribbed vaulting is commonly made out of stone to hold the weight of wooden ceilings, ones made out of stone wouldn't be as durable, for example, the chapter house in Southwell Minster's vaulting is made of solid stone and has no central pillar. |
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(Notre Dame)
-reaches across the lower vaults of aisle and gallery and abuts the nave walls at the points at which the vaults exert their major thrusts
-way of strengthening the walls of vaulted naves
-condemned as “architectural crudity” and praised as “structural honesty”
-Chartres Cathedral considered to be first of High Gothic Buildings planned from beginning for the use of these |
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Purse-Cover, Sutton Hoo, Migrations (anglo-Saxon)
-discovered in a ship
-with gold, glass, and garnet ornamentation, a gold belt buckle
-consists of 7 cloisonne plaques within a cloisonné border
-cloisonne technique - a favorite of the early medieval “treasure givers”
-dates at least as early as the New Kingdom in Egypt
-cloisonne is a cross between mosaic and stained glass but only use it on a miniature scale
-outer images is a man between two beast
-two center are eagles attacking ducks: fit so snug to each other seem at first to be a single dense abstract design: also true of the man-animals motif
-above 3 geometric designs: outer are linear while inner is an interlace pattern in which the interlacements evolve into writhing animal figures
-interlace with animal figures was the premier art of the early middle ages in northwestern europe |
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Ship and Post, Oseberg, Migrations (viking)
-lavishly carved wooden ornamentation of the sleep ship attest to the importance of those laid to rest there (two women)
-once carried many precious objects that were later stolen
-animal-head post is characteristic of the masterfully carved decoration of the Oseberg ship
-controlled pattern of tightly interwoven animals that writhe, gripping and snapping, in serpentine fashion- powerful expressive example of the union of 2 fundamental motifs of the warrior lords’ art- the animal form and the interlace pattern† |
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Matthew, Coronation Gospels, Carolingian, Palace School
-also known as the gospels of Charlemagne
-artists brought a radically different stylistic sensibility to their work compared with their Hiberno-Saxon counterparts
-used color and modulation of light and shade, not line, to create shapes and deft, illusionistic brushwork to define the massive drapery folds
-cross-legged chair, the lectern and the toga are familiar Roman accesories
-background has many parallels in roman painting, and the frame consists of acanthus leaves found in roman temples and capitals and friezes
-fully absorbed the classical manner |
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Matthew, Ebbo Gospels, Carolingian, Reims School
-replaced the classical calm and solidity of the Coronation Gospels evangelist with an energy approaching frenzy
-angel in upper right corner
-writes in frantic haste
-hair stands on one end
-eyes open wide
-folds of drapery writhe and vibrate
-landscape behind him rears up alive
-leaf border in motion
-face, hands, inkhorn, pen, and book are the focus of the composition
-merged classical illusionism and the northern linear tradition |
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Utrecht Psalter, Carolingian, Reims School
-one of most extraordinary medieval manuscripts
-artists intention was to evoke earlier artworks and to make the book appear ancient
-texts reproduces psalms of David in 3 columns of Latin capital letters in emulation of the script and page organization of ancient books
-figures act out literally psalm 44 (plight of the oppressed Israelites)
-drew some slain sheep in front of walled city
-left: faithful grovel on the ground before a temple
-in response to 6 pleading angels - lord depicted reclining in a canopied bed overlooking the slaughter below
-bodies are tense, with shoulders hunched and heads thrust forward and rapid sketchy techniques used to render the figures convey the same nervous vitality as the ebbo evangelist |
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Palace (palatine) Chapel of Charlemagne, Aachen, Carolingian
-Charlemagne wanted to reestablish the imperial past, encouraged use of roman building techniques
-he looked at rome and ravenna, chose aachen because it was a site of its renowned hot springs
-imported porphyry (purple marble) columns from Ravenna to adorn his palatine chapel, and historians believe he chose one of Ravenna’s churches as the model for the new structure
-sought to emulate Byzantine splendor in Germany
-plan based on that of san Vitale at Ravenna, but the west facade is distinctly Carolingian
-transformed interior into simple, massive geometric form
-foreshadows the Romanesque style
-spiraling staircase in two towers was first step toward the great dual-tower facades of Western Europe churches
-in every sense a royal chapel |
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Doors of Bernward, St. Michael’s, Hildesheim, Ottonian
-cast each giant door in a single piece with the figural sculpture
-are huge in comparison to Carolingian sculpture (small-scale art executed in ivory and precious metals) but the 16 individual panels stem from this tradition
-Bernward placed these doors where monks would see them each time they entered the church
-left (genesis beginning with the Creation and ending with murder of abel) top to bottom
-right (life of Jesus starting with Annunciation to appearance of Mary Magdalene of Christ after resurrection) bottom to top
-tell story of original sin and ultimate redemption |
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Candlestick of Bernward, St. Michael’s, Hildesheim, Ottonian
-relief depicting additional episodes from Jesus’ life decorate a bronze column
-inspiration column of trajan (spiraling)
-column commissioned for St. Michael’s by Bernward |
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Gero Crucifix, Cologne, Ottonian
-interest in freestanding statutory, which has been exceedingly rare for the preceding half millennium, also revived
-carved in oak, painted and gilded, 6ft tall
-statue and reliquary (shrine for sacred relics)
-compartment in the back of the head held bread for the Eucharist
-Arch-bishop Gero commissioned and presented to Cologne Cathedral in 970
-depicted with unprecedented emotional power the intense agony of Christ’s ordeal on the cross
-halo behind his head may foretell his subsequent resurrection
-Gero’s crucifix is the most powerful characterization of intense agony of the early Middle Ages |
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Gospel of Otto III, Ottonian
-descended from both German and Byzantine imperial lines, appears in this Gospel book enthroned and holding the scepter and cross-inscribed orb signifying his universal authority
-side are clergy and the barons both aligned in his support
-shows Otto III and Theophanu
-Ottos III obsession to revive the Christian Roman Empire
-moved his court to Rome, was more proud of of his Constantinopolitan than German roots |
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Last Judgment, St. Lazare, Autun, Romanesque
-west tympanum
-below the souls of the dead line up to await their fate. Two men whose travel bags identify them as pilgrims to Jerusalem and Santiago de Compostela can expect to be judged
-Christ presides over the separation of the blessed from the damned in Gislebertus’s dramatic vision of the Last Judgement, designed to terrify those guilty of sin and beckon them into the church
-Above Autun Cathedral’s portal, at the far left, a trumpet-blowing angel announces the second coming. Another obliging angel boosts one of the blessed over the fortified walls of Heaven
-In Gislebertus’s unforgettable rendition of the weighing of souls on judgement day, angels and the Devil’s agents contest at the scales, each trying to tip the balance for or against a soul |
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Chi Rho Page, Book of Kells, Migrations (Hiberno-Saxon)
-tempera on vellum
-in this opening page to the Gospel of Saint Matthew, the painter transformed the biblical text into abstract pattern, literally making God’s words beautiful. The intricate design recalls early medieval metalwork
-the chi-rho-iota page is not purely embellished script and abstract pattern. Half-figures of winged angels appear to the left of chi, accompanying Christ himself
-the only unadorned letters in the opening of the passage read on Christmas Eve are the two words autem (abbreviated simply as h) and generatio: “Now this is how the birth of Christ came about”
-The other figural element on this page of the book of Kells include a male head growing out of the end of the curve in the letter rho. Animals are at the base of rho to the left of h generatio. |
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Saint-Sernin, Toulouse, Romanesque
-served to accommodate large congregations gathered at the shrines along the major pilgrimage routes
-two towers of the western facade were never completed
-increase the length of the nave, doubled the side aisles, and added a transept, ambulatory, and radiating chapels to provide additional space for the pilgrims and clergy
-plan in extremely regular and geometrically precise
-longer and wider naves and aisles, as well as transept and ambulatories were radiating chapels for viewing relics
-important role in butressing the nave’s continuous semicircle cut-stone barrel vault
-nave elevation features engaged columns ( attached half-columns) embellishing the ppiers marking the corners of the bays, fully reflects the church’s geometric floor flan
-the engaged columns rise from the bottom of the compound piers to the vault’s springing (lowest stone of an arch) and continue across the nave as transverse arches
-boasts one of the earliest precisely dated series of large Romanesque figural reliefs-a group of 7 marble slabs representing Christ, angels, and apostles
-“christ in majesty” centerpiece of all the group of plaques (artist Bernardus Gelduinus), signs of the evangelists occupy the corners of the slabs
-the sharply incised lines and ornamentation of Christ’s aureole are characteristic of pre-Romanesque metalwork
-adorn ambulatory wall |
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Mission of the Apostles, La Madeleine, Vezalay, Romanesque
-major element of the sculptural program is the tympanum of the central portal of the church’s narthex
-depicts the Pentecost and the Mission of the Apostles
-light rays emanating from Christ’s hands represent the instilling of the Holy Spirit in the apostles at the Pentecost (seventh sunday after easter)
-apostles holding the Gospel books, receive their spiritual assignment to preach the Gospel to all nations
-regional diversity of Romanesque art
-the objects of the apostles’ mission, appear on the lintel below and in 8 compartments around the tympanum
-the tympanum established God’s omnipotence and presented the Church as the road to salvation |
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Initial R, Moralia in Job, Citeaux, Romanesque
-artists translated the theme into Romanesque terms
-the duel between knight and dragons symbolized a monk’s spiritual struggle
-there was a ban on elaborate paintings in manuscripts as well as sculptural ornamentation in monasteries and this clearly would’ve been in violation of Bernard of Cairvaux’s ban had it not been painted before his prohibitions took effect
-the Initial “R” is formed by a knight, his squire, and two roaring dragons of the salutation Reverentissimo
-knight is slender, raising his shield and sword against the dragons while squire runs a lance through one of the monsters
-ornamented initials date to the Hiberno-Saxon period, but the artist translated the theme into Romanesque terms
-the typically french Romanesque banding of the torso and the partitioning of the folds are evident but the master painter deftly avoided stiffness and angularity
-wears no gear and and calmly aims a single stroke and unmoved |
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Cathedral at Speyer, Romanesque
-one of the earliest examples of the use of groin vaulting in a nave
-groin vaults made it possible the insertion of large clerestory windows above the nave arcade
-was also the seat of the powerful local bishop
-the groin vaults represent one of the most daring and successful engineering experiments of the time
-the rhythm of the speyer nave is more complex because each compartment has its own vault, the impression of a sequence of vertical spatial blocks is even more convincing |
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Cathedral at Pisa, Romanesque
-more closely resembles Early Christian basilicas than structurally more experimental French and German Romanesque churches
-Separate bell towers and baptisteries are Italian features
-presented a rare opportunity to study a coherent group of 3 Romanesque churches
-wanted the church not only to be a monument to the glory of God but to bring credit to the city
-resembles a basilica but has broadly projecting transept with apses, crossing dome, and the facades’s multiple arcaded galleries distinguish as Romanesque
-so does the rich marble incrustation (wall decoration consisting of bright panels of different colors) |
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Cathedral at Durham, Romanesque
-the pattern of the ribs of the nave’s groin vaults corresponds perfectly to the design of the arcade below
-simple pillars ornamented with abstract designs alternated with the compounded piers that carry the transverse arches of the vaults
-although thousands of simple quadrangular blocks make up the great walls of these buildings, the stonecutters also had to produce large numbers of blocks of far more complex shapes
-first example of a rib groin vault placed over a three-story nave
-quadrant arches replaced groin vaults in the tribune as buttresses of the nave vaults
-medieval building campaigns often lasted for decades because it was a big undertaking |
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Bayeux “tapestry”, Romanesque
-embroidered fabric made of wool sewn on linen, most famous work of English Romanesque art
-a continuous, friezelike, pictorial narrative of a crucial moment in England’s history and the events leading up to it
-closely related to the Romanesque manuscript illumination, its borders contain the kinds of real and imaginary animals found in contemporaneous books
-illustrated are two episodes of the epic tale
-first detail depicts King Edward’s funeral procession, hand of god points way to church (westminster abbey) where he was buried
-second detail shows the battle of Hastings in action, Norman cavalry cuts down the English defenders. Lower border are the dead and wounded, although the upper register continues the animal motifs of the rest of the embroidery
-some of the characteristic motifs of greco-roman battle scenes, the horses with twisted necks and contorted bodies but rendered the figures in the Romanesque manner
-linear patterning and flat color replaced classical 3d volume and modeling in light and dark hues
-depicting in full detail an event at a time shortly after it occurred, and in chronological order |
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Cathedral at Chartres, Gothic
-key monument of both early and High Gothic architecture
-west facade still has much in common with Romanesque designs but features statues on the door jambs
-architectural historians consider the rebuilt Chartres Cathedral the first great monument of High Gothic architecture
-It is the first church planned from the beginning to have flying buttresses
-Chartres set the pattern for the High Gothic cathedrals in the use of four-part rib vaults springing from pointed arches and in the introduction of a 3 story nave elevation (arcade, triforium, clerestory)
-flying buttresses made possible the replacement of heavy masonry walls with immense stained-glass windows, which transformed natural sunlight into divine light of various hues
-west facade - Royal Portal- bc of the figures pf kings and queens flanking its 3 doorways, these sculptures proclaim the majesty and power of Christ
-to unite the three doorways : carved episodes from the lives of the Virgin and Christ on the capitals
-left tympanum (christ’s ascension), central tympanum (second coming), right tympanum (christ on marys lap)
-statues of old Testament kings and queens occupy the jambs flanking each doorway
-gothic figures attached to the column, stand upright, elbows held close against their hips, linear folds in their garments, elongated proportions
-statues display first signs of a new naturalism (head replaced from the masklife features)
-porch of the Confessors: are more independent from the architectural framework, the architectural setting does not determined their poses as much as it did on the west portals
maze inside : most famous pattern |
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St. Denis, near Paris, Gothic
-Abbot Suger’s remodeling of Saint-Denis marked the beginning of Gothic architecture. Rib vaults with pointed arches spring from slender columns. Stained-glass windows admit lux nova
-The innovated plan of the east end of Saint-Denis dates to Abbot Suger’s lifetime. By using very light rib vaults, the builders were able to eliminate the walls between the radiating chapels.
-permeated with light and outfitted with gold and precious gems
-he regarded a lavish investment in art as a spiritual aid, not as an undesirable distraction for the pious monk |
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-served as a regent of France
-had a dream of the possibility of embellishing the church
-aimed to increase the prestige both of his abbey and of the monarchy by rebuilding France’s royal church in grand fashion
-he wrote at a much greater length about his church’s glorious golden and gem-studded furnishings
-costly furnishing and new church permeated with light and outfitted with gold and precious gems
-suger’s forceful justification of art in the church set the stage for the proliferation of costly stained-glass windows and sculptures in the cathedrals of the Gothic age |
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Notre Dame, Cathedral, Paris, Gothic
-has a complicated building history
-new: rose window/flying buttresses
-needed exterior support
-interior space 108 ft tall
-thought to be barbaric
-most famous: gargoyle water spouts, not new but become monsters, no gargoyle are the same, raunchy
-meant to ward off evil? or way of drawing unfaithful in? or way of architects expression? |
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Portal Sculpture, Cathedral at Reims, Gothic
-Annunciation and Visitation, jambs statues on the ride side of the central doorway of the west facade, Reims Cathedral, Reims, France
-Several sculptures working in diverse styles carved the Reims jambs statues, but all the figures resemble freestanding statues with bodies and arms in motion
-The biblical figures converse through gestures
-sculptors shrank the supporting columns into insignificance, they in no way restrict the free and easy movements of the full-bodied figures
-vividly illustrate how long it frequently took to complete the sculptural ornamentation of a large Gothic cathedral (3 different sculptors carved 4 statues)
angel, mary , mary, elizabeth |
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Sainte-Chapelle, Paris Gothic
-carried the dissolution of walls and the reduction of the bulk of the supports to the point that some 6,450 sqft of stained glass make up more than 3/4 of the structure
-the supporting elements are hardly more than large mullions, or vertical stone bars
-they were the largest stained glass windows designed up to their time
-the emphasis is on the extreme slenderness of the architectural forms and on linearly in general |
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St Louis Psalter, Gothic
-the architectural settings reflect the lightness and transparency of Parisian royal buildings
-colors emulate stained glass
-Abraham and the three angels
-many think that this is one of several books produced in paris for Louis IX by artists associated with those who made the stained glass for his Sainte Chapelle
-two episodes separated by the tree of Mamre
-left Abraham greets the angels
-right he entertains them while wife sarah peers at them from a tent |
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Cathedral at Salisbury, Gothic
-exhibiting the distinctive regional features of English Gothic architecture, Salisbury Cathedral has a squat facade that is wider than the building behind it. The architects use flying buttresses sparingly
-emphasizing linear pattern and horizontally instead of structural logic and verticality
-architect did not seek to match the soaring height of French facades or try to make the facade correspond to the 3 part division of the interior (nave and two aisles)
-different too is the emphasis on the great crossing tower which dominates the silhouette
-distinguishable long rectilinear plan with its double transept and flat east end |
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Dormition tympanum, Cathedral at Strasbourg, Gothic
-express the profound sorrow through dramatic poses and gestures
-Death of Virgin Mary
-12 apostles gather around forming an arc of mourners well suited to the semicircular frame. The sculptor adjusted the heights of the figures to fit the available space
-at center christ’s receives his mother’s soul (the doll like figure he holds in his left hand)
-in Gothic France art becomes increasingly humanized and natural |
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Rottgen Pieta, Germany, Gothic
-this statuette of the Virgin grieving over the distorted dead body of Christ in her lap reflects the increased interest in the 13th and 14th centuries in Jesus’ suffering and the Virgin’s grief
-this expressed emotionalism accompanied the shift toward representation of the human body in moton
-portrayed christ as a stunted, distorted human wreck, stiffened in death and covered with streams of blood gushing from a huge wound
-expresses nothing of the serenity of Romanesque and earlier Gothic depictions of Mary |
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