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Lindesfarne Gospels, St. Luke,
portrait page (137v) (British Library
St. Luke is portrayed writing a manuscript with with bare feet on a foot stool. It was written in early 8th century, by A Northumbrian monk, very likely the bishop Eadfrith.
Two-hundred and fifty-
nine written and recorded leaves include full-page portraits of each
evangelist. Each Evangelist also has a separate and slightly different cross-carpet page. These gospels examplify the mixing or cross-culture of people while they traveled and brought their own cultural artistic senses along with them, influencing the art.
St. Luke's head is surrounded by an angelic halo, with the picture of a
his red legs are hovering above a tray that is supported by his legs.
He is wearting a purple robe that is red streaked. This is something that a philosopher of the 4th or 5th century, in Rome, would wear. The gold halo behind Luke’s head makes reminds us of his divinity. There is a blue winged calf that looks like it is flying above his halo, which has its 2 eyes looking at the viewer. The calf is holding a green book, representing the gospels.
This is found in the British library, It is part of the Lindisfarne gospels.
Manuscript: a hand-written book. This Bible was a manuscript. |
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Sutton Hoo shoulder clasps (Early Anglo
Saxon), late 6th early 7th century,
gold, millefiori, and garnet, 5.4 x 12.7 x .5 (The British Museum).
There is a large, rectangular place filled with rhomboids, that have stepped edges.) He used gold leaf foil and stamped it so that it could catch and reflect light. Fine, gold granulation was also placed on the shoulder clasps. Interlaced serpents. Found in Sutton Hoo, in a burial of a very important person. Some of the grave goods may indicate some of the earliest influences of Christianity. Remind us the Britain was not isolated, and there are many influences from other empires and cultures in this art.
Most sophisticated Jewelry produced during this century in Europe.
Gold Leaf: extremely thin sheets of gold used for gilding, used in manuscripts and jewelry discovered from the medieval times. |
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Virgin and Child. Illustration in the Book of Kells. Late 8th or 9th centuries. Trinity
College Library, Dublin
This is the only picture of a woman found in the book of Kells. Earliest known image of the virgin and child in western art. Different from the biblical origins, she is dipicted as an empress. Encrusted by jewels, ack of thrown has a lions head, similar to that of king solomons thrown, described in the Bible, an indication of the virgins wisdom. She is dressed in purple (royalty), and has the illution of weraing silk, a very delicate fabric, known to be wore by those of high status. There is a pattern of 3 dots found on the fabrics, some believe this represents the trinity, while other suggest it is suggestive of the virgins milk. Diamond broach could also be a symbol of Christ. Mary is surrounded by angels, rather than the typical 4 courtiers that usually surround images of empresses. Identified as the 4 arch-angels Moicheal gabriel raphael and uriel. 3 carry fans, 1 sprinkling holy water. Christ child is sieating on the virgins breast, illuding to Mary being the mother of God, and also the milk of Christian instruction. The frame may reference the art work that inspired the kells artist. There are close parallels to that of the Byrantinian panels pictures of the virgin and child. There are also 4 profiles of heads/faces that direct the viewer to the next page, referencing the announcement of the birth of Christ.
gospels:
the record of Jesus' life and teaching in the first four books of the New Testament. Mary and the virgins story is found in all 4 gospels. |
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Lindisfarne Gospels, Cross
Carpet page, f.26v (British Library)
Each Lindesfare Gospel has its own carpet page. These pages were in front of each gospel, details with the shapes of the cross. Internal cover to make each gospel its own book. Extraordinary color, line precision and complex, mirrored decoration. Reminds us of the metal work done on different archeological finds in Sutton Hoo. The style is referred to Huberno-Saxon, there is an infusion of cultural ideas and artistic understandings which showcase the different influences of the traveling of artists at the time. Made on the island of Lindesfarm, founded by missionaries from Ireland.
Cross Carpet page: Pages placed before each of the gospels, besides articulating the text, serve as images, almost as icons, of the Word of God. |
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Monogram of Christ. Book of Kells. Iona and Kells. Late 8th or early 9th century.
Trinity College, Dublin.
introduces Matthew's account of the
Nativity, the birth of Christ.
There are 3 letters representing the monogram of Christ. XLP which stand for: Christi autem
generation" (Now the birth of Jesus Christ took place in this way."
Matthew 1:18.
These are known as the incipit, the original words of the gospel.
The barely legible words were transformed into intricate and
The words, however, are barely legible, and transformed into spirals, geometric shapes, and undulating lines in an abstract manner.
These have roots in early Celtic and Anglo-saxon interlacing art,
like those of the clasps from Sutton Hoo.
There are some images, however, that are not abstract. The book of Kells is
famous for the hidden imagery depicting humans and animals. In this specific example we see moth, a monks head, cats flanking mice, holding a wafer in their mouths, and an otter catching a fish. |
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Saint Matthew, folio 15
recto of the Coronation
Gospels (Gospel Book
of Charlemagne), from
Aachen, Germany, c.
800-810, ink and
tempera on vellum
(Kaiserliche
Schatzkammer,
Kunsthistorisches
Museum, Vienna)
The evangelist Mathew is wearing a toga, there is halo surrounding him, he is sitting at his lectern.
Charlemagne’s aim was to establish a new Christian Roman empire. The classical inspirations and the monumentality of the figure align with this desire.
This artwork is classical in nature, emulating the early manuscripts produced in the Mediterranean.
He is presented in a
volumetric way. He is a full-bodied figure, and sketched with illusionistic
brushwork which creates a three-dimensional effect.
Interlacing animal style
Animal interlace styla:
Animal interlace is a calligraphy, with rich, fanciful decorationsIts intertwined, fantastic animal and bird forms are often densely and minutely detailed—an example in the Book of Kells |
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Herman, Paul and Jean de Limbourg, January, from
Les Très Riches Heures du
Duc de Berry, 1413
16, ink on vellum (Musée Condé, Chantilly)
Considered to be the most famous book of hours.
currently at the Musée Condé in Chantilly France.
Most notable
are the calendar pages of the book.
This book is most notable for the 12 pages that represent each months usual activities and customs, as well as corresponding zodiac signs.
the authors were Paul, Jean, and Herman de Limbourg.
the powerful French
Duke Jean (John) de Berry (1340–1416). Th Represented in the
miniature as the seated figure in blue on the right side of the painting
behind the table and wearing a gold livery collar and brown fur hat, is the patron of the Les Très Riches Heures who was the powerful French Duke Jean (John) de Berry (1340–1416).
In the this book, we see
agricultural scenes where peasants are happy and till the fields and harvest.
In the background we see Castles and landscapes, specific to the
holdings of the Duke of Berry, and the inside the palace. In January of this calendar, we see an image of the Duke sitting at the head of the table while presents are exchanged all around. It is likely that the image of the man in the mid-ground with the grey floppy hat, was a self portrait of Paul. It is likely that the Limbourgs would have been apart of this ritual, themselves.
The table is laden with expensive goods, represents the wealth and
taste of the Duke. A variety of angelic motifs relating to the Duke are also found such as the gold fleur-de-lys (in the blue circles. In the background there is a tapestry with a scene of knights emerging from a castle ready to go into
battle.
Book of Hours: (in the Christian Church) a book containing the prayers or offices to be said at the canonical hours of the day, particularly popular in the Middle Ages. |
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Bayeux Tapestry. c. 1070. Embroidery. Centre Guillaume le Conquérant. Bayeux, France.
This is a tapestry and In this scene, a figure with his left hand touches two fingers on two casket reliquaries. In his right hand he carries a sword, and On the left side of the
composition, he gestures to the reliquary or figure On the far right side of the
scene, another figure holding a spear watches and points one finger
slightly upward. We see in this scene a function of reliquaries that we
have not discussed before: the saints as witnesses to oaths. Duke Harold of Wessex is the figure at the center and he swears an oath of
loyalty to Duke William of Normandy. In the ceremony, swearing to give
protection to Harold in exchange for his military service and loyalty
to him. They both swear allegiance to each other. The saints are present through their relics and as such
witness Harold's oath, symbolizing the oath was made in front of God. The divine witnesses are joined by the soldier to the right, who also sees Harold's both spiritual and worldly act of swearing to
William. Harold has, in modern language, raised his hand before
God and witnesses, to honor and serve the king. What follows,
however, is the ramifications of betraying both God and king.
Spiritual and temporal justice will await Harold, for he turns against
William and attempts to take England. Divine retribution will come in
the form of an arrow through his eye, an event foreshadowed by a
comet falling in the sky earlier in the embroidery. William, wins the battle because of his loyalty to God.
Interlace:
cross or be crossed intricately together; interweave. Many different pieces of medieval art was created with interlace. |
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Grandes Chroniques de France. Royal M.S. 16 G VI. Folio 131v. British Library
"This illumination (a miniature) depicts Tassilo, Duke of Bavaria,
paying homage to Charlemagne (Charlemagne, book 1, 7) in a copy
of the book Grandes Chroniques de France (The Great History or
Chronicle of France) commissioned by the future king of England
John II while he was Duke of Normandy (1332-1350). The chronicle
describes the history of France through to the death of King Louis IX
in 1270. It contains an extraordinary amount of illuminations." This clearly defines the wealth of this patron.
the Duke holds his hands together as Charlemagne speaks
(remember gestures indicate speaking or conversation), this particular illuminations.
Medievalism:
medieval quality, character, or state, also devotion to the institutions, arts, and practices of the Middle Ages. |
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The History of King of England. Harley 1318 folio 5. British Library. Richard II
Knighting Henry of Monmouth.
This piece of art depicts one of the most important things within medieval times, chivalry. We see a group of knights standing behind a knight with is being "knighted" with his head bowed, sword on one shoulder. The artwork then blends on the right side into a totally different kind of artwork. Chivalry is best defined as a code of honor between men.
"Chivalry was developed by and applicable to men who fought and a set of ideals for warriors in warfare...
alric ideals included:
Absolute loyalty
defend specific people also overlapped with his duty to obey and
support one’s lord
Never abandon ones’ comrades on the battlefield for any reason
Supposed to damage the enemy at any cost using whatever
means
Follow a Christian code by protecting the Church, the elderly and
the weak
loyalty to one’s lord
bravery in combat
success in battle
emphasis on ideas of individual honor and the necessity to defend
that honor by force
feuds and contests for status often characterized warrior behavior
warrior ideals glorified the practice and need of violence"
chivalry:
A code of honor between men. |
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Armor. c. 1400-1450. Italian. The Metropolitan Museum of Art.
Firstly, the padding goes on, from feet first. Then the spurs are put on, followed by the leg covers, which completely cover the legs, lower leg first. They are hinged on the outside. Leather straps go on the inside, ideally keeping them from being cut. Flexibility is key, but also the plates need to overlap and fit together tightly, this is a sign of high quality armor. Next is a male skirt made of metal with small holes in it. The standard is the collar, adding protection for the breast plate and neck connect. Next is the curess, upper and lower part. weighs 20-30lbs, sits on the hip, making it easier to move. Then the arm armor is placed. The shoulder plate were large and provided extra protection. Next the hand armor, the the helmet, with a wrapper, protecting the face and neck.
Armor was made of thin steel plates, overlapping one another for movement.
plate armor: the metal coverings formerly worn by soldiers or warriors to protect the body in battle. |
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Knight's Tale (2001). Film.
A medieval film, which is a great example of medievalism and medieval cinematography. these terms refer to the life of the middle ages beyond its time. and the representation of the middle ages in film.
shared cinematic medievalism: A shared experience through film, which represents and challenges our ideas and beliefs about medieval times. |
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Casket with scenes of a troubadour, dancer, lauzengier, and lovers. c. 1180.
Limoges enamel. British Museum London.
A box, decorated with enate metal and jewels, usually with a scene on the front. Not the typical use of the word casket, in modern day. This one has a scene of a musician accompanying a young, female dancer representing the joy of being in young love. A bird flies between them, representing a part of the poem where Bernart sings: he sings the he wants to become a bird so that "he might fly through the air and land deep in her house," This explains the bird flying between them and also the desire to consummate their relationship physically.
On the other side is a representation of the lark that flies towards the thing that causes its death, as is in this poem. In the poem Bernart sings of how he will die without her love.
Another song by Bernart includes the stanzas "Since I am her liege subject wherever I find myself, to the point that I pledge myself to her, head bowed in absolute submission: and hands clasped, I surrender myself to her pleasure, and I wish to remain at her feet, until she, as a sign of mercy, admits me where she undresses." This is represented by the other hand of the woman, holding a young man by the neck with a halter, which kept the falcon connected to the owners wrist.
The man kneeling of the man, with his hands clasped together before the woman is meant to represent the homage that a knight would give to his lord. This is meant to represent the way that courtly love was portrayed as the woman having the position of liege over the man.
Though reality was quite diifferent that the pictures on the casket, By giving his beloved power over him, he was thwarting his desire, and he demonstrated his own
power and virtue.
"In some ways, courtly love places the woman in a perceived superior position but rather men look at them. Women do not get to do the looking and instead are the subject and seen as objects to be admired and desired but what is missing from these poems are their desire, their wants. Instead, they are even sometimes shown as cruel for not engaging in the affair when to do so in reality would come at great cost to them, for often wives who engaged in adultery suffered more than the offending male participant due to his wealth, connections, politics, etc. since they were both nobles."
homage:
special honor or respect shown publicly. |
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| Ladies watch knights jousting and the siege of the Castle of Love. Lid of a casket made in Paris. c. 1320 Ivory. British Museum, London |
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The lady (Frau Minne) shoots an arrow at the lover. Inside lid of a casket from
the Upper Rhine, c. 1320. Painted oak. The Cloisters, NY.
Troubadours/
trouvères: composed original works and were both musicians and
poets and were often professionally trained by the Church, as
music schools were religious. As members of the nobility, they
were literature and their works were written down and notated
as well as transmitted orally. |
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Includes 6 tapestries, were likely
designed in Paris around 1500 C.E. Many interpretations have
been made about the hangings. Though the have frequently been identified
as the Five Senses, with the 6th work identified as Desire, as it
has the words "À mon seul désir" woven into it.
Tapestry:
a piece of thick textile fabric with pictures or designs formed by weaving colored weft threads or by embroidering on canvas, used as a wall hanging or furniture covering. |
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The Unicorn Rests in a Garden (from the Unicorn Tapestries). South
Netherlandish. Tapestry. 1495
-1505. The Metropolitan Museum of Art.
a series of 7 tapestries, all telling a story about the unicorn.
There have been many theories about this work of art, though we know very little about its history. The unicorn is chained to a pomegranate tree, the background covered on floral designs. There are very specific plants, attention to the types of plants and where they are found in nature. Flat background, no hills or landscapes.
Most allegorical tapestry.
Possible that the allegory is that the unicorn is a representation of Christ.
in medieval mythology the unicorn comes to represent christ, the virgin who captures the unicorn represents Mary.
Golden chain represents Mary, 2 traditions coming together. Christian and secular.
Open meaning.
Tapestries like this were hung in rooms as a way to insulate and keep the warmth in dark rooms.
Cartoon: a simple drawing showing the features of its subjects in a humorously exaggerated way, especially a satirical one in a newspaper or magazine. |
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