Etruscan - End Flashcards by Emily Kovalenko

Tomb of Hunting and Fishing, Tarquinia
6th century BC- Etruscan
boys fishing in boat
boys diving off rocks
- depicts daily lifestyle
figures refrain from filling up entire space
- rare
birds flying in air - not to scale
afterlife like real life

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Tomb of the Leopards, Tarquinia
5th century BC- Etruscan
Estruscans banqueting
daily life activities
- bring these aspects to afterlife
social aspect - men and women at banquet
Etruscans very gestural
- women depicted, by convention, as white and men are dark
man holding egg
entertainment - flutist
- Exaggerated features - hands and feet

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Tomb of the Reliefs
3rd century BC - Etruscan
tomb with many reliefs on walls
contains things that would be at home
contains tools
carrying of funeral bed
features that correspond to men and women (drinking cups and fans)
everything well preserved except 2 portraits
- iconoclasm
3 headed dog - protects/guards underworld

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Ficoroni Cista
late 4th century BC - Etruscan
bronze
cylindrical with lid
animated by figures on lid
most cistas were made east of Rome at Palestrina
- this one in particular was made in Rome
example of eclectic approach in art
cosmetic implements kept inside
- good for marriage gift to wife
body-engraved (Etruscan characteristic)
- Greek story of Argonauts
- similar style to 4th century Greek art
  - casual stance, contropossto, Greek gods
inscription - Novios Plautios made me at Rome
- Etruscan, Greek, and Roman
- Roman style - depends on situation - not as standard

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Capitoline Wolf
late 6th century - Etruscan
refers to foundation myth of Rome
wolf is maternal
is Etruscan art more than Roman
- Roman in theme, Etruscan in style
very expressive

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Arringatore, Aule Metele (Aule Metellus) Bronze
1st century BC - Roman Art - Late Republic
Bronze statue of an orator
most likely addressing politicians
wearing tunic, toga, and boots - high (senatorial)
- free people wear togas - symbol of being a Roman citizen (togate race)
compare to Demosthenes
inscriptions with Etruscan letters at bottom of toga
Romans participate in debate
depicts real individual
- no two sculptures are alike
- middle-aged man
- toga - can’t do manual labor with toga on

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Portraits of a Roman, from Osimo
1st century BC - Late Republic
portraits tend to depict old men
leaders were old men
because portrait is of old man - signifies that he is important and high up
looks old
- wrinkles, receding hairline
brutal realism, superrealistic, verism

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Man with portrait busts of his ancestors
Late 1st century BC - Roman Art - Late Republic
Rome
made of marble
man wearing toga
man holding two busts
- heads were enough for portraits
busts depict his ancestors - imagines
- displayed in households
- Plebians not allowed to have statues of ancestors in houses
portraits signify distinguished family line

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Portrait of a Roman General from Tivoli
1st century BC - Roman Art - Late Republic
know he’s a general because of his armor at the bottom
eclecticism
body is idealized form but head is old - doesn’t match
- wrinkles, some from presistant stare, not veristic

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Coin Portrait of Julius Caesar
1st century BC - Roman Art - Late Republic
depicted as older individual

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Funerary relief of the Gessii from Rome
1st century BC - Roman Art - Late Republic
freed slaves with elite Roman (born free) in middle
Liberta - female freed slave
Libertus - male freed slave
images on tomb of lower class citizens
- not exactly true to life but emulates other art

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Relief with Funerary Procession from Amiternum
2nd half of 1st century - Roman Art - Late Republic
deceased figure laying in middle
- doesn’t convey space in a normal way
- space bubble around deceased
- strange groundlines on top
- space is rendered in a conceptual way
- musicians attending funeral
- professional mourners on top
lower level citizens, not elite because art isnt as realistic

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Temple of Portunus (Temple of “Fortuna Virilis”)
1st century BC - Roman Art - Late Republic
Rome
4 columns across front - tetrastyle
full columns in front, engaged columns on sides - emphasized front - Etruscan style
Ionic columns
Greek aspects - stone materials, similar columns, Ionic order

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Roman Concrete
Romans could build many more structures
made of lime, mortor, volcanic rock, chunks of rock
- dries rock solid
easy and more efficient

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Sanctuary of Fortuna, Praeneste
late 2nd century BC - Roman Art - Late Republic
vaulted chambers
rounded walls
curved colonnade
interacted with landscape - built on hill
made with Roman concrete

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Primaporta Augustus
27 BC - 96 AD Early Roman Empire (Augustus)
copy of a bronze original
statue of Augutus - 1st emperor of Rome
- grandnephew of Julius Caesar (became his adopted son)
  - called himself Caesar, gained his money, supporters, army/legions
  - began to rise to power
  - 31 BC defeated Marc Antony and Cleopatra
  - 27 BC changed name to Augustus
  - traced ancestry back to Venus (Aphrodite)
strong military person - military tunic, breastplate, general’s cloak
- addressing army - same gesture as Aule Metele
alludes to divine ancestry - statue of eos at bottom - son of Venus
similar stance to Doryphoros - contropossto - classical Greece
Augustus is shown as young
- not as much intensity in face
- wants to show control/discipline and negate signs of weakness/change - stays young
idealized face with Augustus’s real features - filtered with idealized mask of Greek sculpture
Breastplate has relief of Parthinian giving back
Roman spoils to Romans - 20 BC
- mythological references- Gods/personifications
raises historical event to cosmic event
- sky above, fertile earth below
- sun’s rising, dawn is here - beginning of day
  - represents new Golden Age that Augustus is bringing
- 2 personifications of provinces on sides
- geographical setting

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Augustus wearing corona civica, or civic crown
27 BC - 96 AD - Early Roman Empire (Augustus)
symbol of Roman emperor

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Portrait of Livia, from Faiyum, Egypt
27 BC - 96 AD - Early Roman Empire (Augustus)
Augustus’s wife
long hair pulled up into bun
2 parts with bangs rooled up in front
- way elite Roman woman would wear their hair
just as idealized as Augustus - never ages
- elite couple

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Ara Pacis
27 BC - 96 AD - Early Roman Empire (Augustus)
Pax Augustus - Augustus personalized the pleace in Rome - defeated army
celebrates peace Augustus brought to Rome
no roof, raised on pylon, perfect symmetry
relief sculpture on outside
- about life-size
altar on inside in middle
processions from east to west
- depict real people - Augustus, Agrippa - south side
  - framed by mother Earth and Aeneas
North side framed by Roma (Rome) and Romulus and Remus
down below - acanthus plant - perfectly symmetrical
actual Roman citizens protrayed
- men, women, and children
  - signifying fertility - shortage of people in Republican time from elites killing each other
Augustus was a model
similar to Parthenon frieze - model
- Romans borrowing classical Greek style, not Hellenistic style
Mother Earth (Tellus)
- animal, water, air, earth, framed by 2 figures
  - allusion to Parthenon

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Maison Carree, Nimes, France
27 BC - 96 AD - Early Roman Empire (Augustus)
Nimes, France became Roman - installed Roman leaders, laws, architecture, temples, government buildings, entertainment, language, and measurements
one of the best preserved Roman temples
columns in the round in front, engaged on sides and back
corinthian order, elaborate floral frieze, very detailed
6 columns in front that are corinthian

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Pont du Gard, (aqueduct bridge)
27 BC - 96 AD - Early Roman Empire (Augustus)
Aqueduct - transports water from mountian spring to city to gradual downward slope
- mostly underground except for rivers - supported by columns
aqueducts don’t have columns - are practical and in countryside, not urban architecture

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Porta Maggiore, Rome
27 BC - 96 AD - Early Roman Empire (Claudius and Nero)
aqueducts do not have columns - are practical and in countryside, not urban architecture
but once it’s not used, it’s decorated
uses rustication - not perfectly sized rocks

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Domus Aurea (Golden House of Nero) Severus and Celer
27 BC - 96 AD - Early Roman Empire (Claudius and Nero)
Innovative
- little rooms that came off sides were different shapes
- octogonal room - large size
  - illuminated by oculus
- groin vaults
- light comes in over the dome of the octogon room
  - vault - haunch clerestory lighting
Nero’s estate in Rome’s Domus Aurea
- took a lot of city space
- Nero committed suicide - last in line - no successor
  - resulted in civil war
    - Vespasian won

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Portrait of Vespasian (Titus Flavius Vespasianus)
27 BD - 96 AD - Early Roman Empire (The Flavians)
Vespasian wanted to erase any traces of Nero
drained lake in Nero’s palace and built Colosseum
- grand statement - generosity to public

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The Colosseum
27 BC - 96 AD - Early Roman Empire (The Flavians)
amphitheature
very large building
called colosseum because it was built on site of colossal statue of Nero
many arches - 3 stories
columns on either side of arches
- homage to Greek architecture
- no structural importance/ support
- uses Greek elements in a Roman way
outside made of stone
- vaults go all the way in and around
fenestrated - having windows
vaults are important in Roman architecture

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Arch of Titus
27 BC - 96 AD - Early Roman Empire (The Flavians)
Rome
functions as a doorway into the urban part of the city (Flavian Era)
- Vespasian wanted the New Flavian part to be interconnected with the old part
multilayered monument
- arch with two piers that are framed by columns
- columns hold up entablature
- projects out a little in the middle
- attic on tip
  - main function - to support statue and to hold inscription
  - diefies Titus - (father also diefied) puts him in an elevated status
winged figures in the spangels (triangle shape between column and arch)
triumphal arch - celebrates triumph over Jewish revold in Jerusalem
columns capitals are composite between corinthian and Ionic order - composite order
panel on the left - shows triumphal procession of Romans, captured prisoners, and booty from the temple
panel on the right - Titus in victory chariot drawn by 4 horses
- very high relief
- achievements of the Emperor depicted in statue
- a lot of emotion/ energy
- playing off lights and darks with deep shadows
- illusion of arch - makes figures seem to surge out - overlapping figures
- more like Hellenistic sculpture

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Pompeii Forum
1st century AD
Forum - center of politics, government, commerce, market, etc. of Pompeii
temple at north end, open space framed by colonnade
- very similar to UVA lawn
Bassilica - kind of like smaller version of forum
- focus at the end, colonnades on side
- central space called Nave
- plan: porchway leading tp stepps, central aisle, side walk ways separated by columns
Romans arrived in 89 BC and reformed city - so it’s not in the center of the city anymore

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Pompeii Amphitheater
1st century AD
similar to colosseum
entertainment center
sunken arena
get into amphitheater through arches

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Brawl in the Amphitheater
1st century AD
Pompeii
painting of brawl between people of Pompeii and nearby town
Nero closed down amphitheater
historical event
used optical view that would be impossible in real life - viewed side as well as inside

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The Roman House - Pompeii
1st century AD
aterum - big room in front of house with big opening and “basement”
- rain water is stored using this opening
small rooms off sides - cubiculum
peristyle garden with opening in roof in the back
Atrium of the house of the Vettii

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Roman Wall painting - First Style - Saminite House
2nd century to early 1st century BC
called masonry style because it is stucco painted to look like valuable stone
- made to look 3 dimensional

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Roman Wall painting - Second Style
100 BC - 15 BC
called illusionistic style
creates illusion of depth

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Villa of Publius Fannius Synistor, at Boscoreale
100 - 15 BC - Second Style
illusion of depth by architecture
recession of architectural structures
illusion of light striking parts of architecture to create depth
two columns (layered) support zone beneath pediment
compare to Bull Leaping Fresco - very flat

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Villa of Livia at Prima Porta, near Rome
100-15 BC - Second Style
walls painted with plants like a painted garden
little garden fence
larger trees closer, smaller trees farthur away
trees/plants in the distance are blurry and blue - Atmospheric perspective

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Villa of the Mysteries, Pompeii
100 - 15 BC - Second Style
creates depth through the use of a painted shelf with figures on it
Megalographia - large figure painting
God Dionysos reclining on wife
full wrap around in room
human figures on side (all female other than little boy)
Bridal reference

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Villa of Agrippa Postumus at Boscotrecase
15 BC - 60 AD - Third Style (Ornate Style)
solidity of wall has been solidified
very thin columns support ornate decoration at top
in center, floating, is little landscape painting

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Domus Aurea, Rome
60 AD - 79 AD - Fourth Style
in Nero’s Golden House
reasserts 3rd dimension through painted windows

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House of the Vettii, Pompeii
60 AD - 79 AD - Fourth Style
contains many aspects of different styles
many blocks showing outside landscape - all different landscapes (2nd Style)
block of orante style (3rd Style)
bottom is painted to look like stone (1st Style)

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Still Life with peaches and glass container
1st century AD
Herculaneum
no humans but products of human activity
- glass jar made by humans with water put into it
- branch from pear tree placed on shelf
- bite taken out of pear
shows several different tectures to create illusionistic art

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Portrait bust of Trajan
2nd century AD
- Trajan expanded Roman Empire
- born in Spain - first non-Italian emperor
- campaigned in Romania and moved south to conquer the Parthians
- suddenly died and didn’t organize succession
good representation of Trajan
- depicts him as middle-aged-stays that way
- short hair, clean shaven
- distinct facial features
became emperor in 98 AD
Nerva - picked by senate to be emperor founded adoption succession.
- adopted Trajan (next emperor)

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Timgad, Algeria
2nd century AD - Roman Art
Rome
prototype of some Roman cities
2 rows of North and south streets, grid-like formation
baths
Roman influence in Africa
Trajan brought elements of Dacian culture back into Rome, brought back a lot of money/booty

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Forum of Trajan, Rome
2nd century AD - Roman Art
Apollodurus of Damascus, architect

temple of diefied Trajan - arrogant to plant that when he was still alive/Hadrian built it
column of Trajan - best preserved part of complex
libraries - one Greek, on Latin
large Basilica - similar to one at Pompeii but much larger and with clerestory lighting,

has grand facade looking out into open courtyard of forum
elaborate entryway
colonnade
equestrian statue in middle of forum
Roman characteristics
- large scale, central axis, apses framing axis, use of columns, basilica, Roman sculpture
used granite stone, cut out as monoliths (single piece)

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Column of Trajan
2nd century AD - Roman art
Rome
100 Roman feet high
romans loved the number 100 or numbers that were divisible by 100
base with door and sculpture on it
a lot of sculpture on column spiraling up
- first case of frieze sculpture going up in spirals on column
- explains epic story
can go into base through door
- chamber where Trajan and his wife’s ashes were laid
- stairway spirals up on inside of spiral
- viewing platform on top
burial chamber and viewing platform
- impressive view - achievements of Trajan and power
- Roman would process around column during funeral
sculpture
- thousands of figures
  - battles, marches, building of fortifications, speeches made by militrary leaders
- problem: not very easy to see
- solution: can read it vertically
  - Trajan occurs over and over
- Roman army crossing river
- Roman building
- soldiers going on campaign
- Trajan with attendants and soldiers
  - similar view as Brawl at amphitheater
    - 2 different views in one scene - typical of Romans

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Markets of Trajan, Rome
2nd century AD - Roman art
multi-story, climbing up hillside, hundreds of shops
one of the great undiscovered wonders of Rome
built from Roman concrete
covered market hall
- groin vaulting covering

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Arch of Trajan, Benevento, Italy
2nd Century AD - Roman art
similar to Arch of Titus
celebrates engineering victory (road building)
has statue on inside and outside

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Portrait of Hadrian, from Rome
2nd century AD - Roman art
next emperor, related to Trajan, campaigned, Trajan’s wife manufactured adoption of Hadrian by Trajan - problematic succession
wore a beard - like the ancient Greeks
- loved Greeks
wore hair a little bit longer
- new presentation of Emperor
- carving of the eye and engraving of the pupil
Hadrian travelled around Empire
Patron of the Pantheon

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Pantheon, Rome
2nd Century AD - Roman art
good example of Roman eclecticism
8 frontal columns, pediment
dome cylinder made of Roman concrete
- larger interior space without any support on the inside
- oculus at top of dome
- granite shipped from Egypt
- description on facade says Agrippa made it - in memory of him
Interior
- 142 ft x 142 ft
- space explodes in front of you
- eyes are forced to look up at oculus
- light comes in through oculus
- columns inside don’t do anything structurally
outside pediment has floating pediment behind it
- troubled architects
- reconstructed Pantheon possibly used shorter columns than before that made pediment lower than before (hence floating pediment)
  - theory comes from Mark Wilson Jones

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Hadrian’s Villa at Tivoli, Canopus and Serapeum
2nd century AD - Roman art
borrows notion of columns and entablature from Greek but used arches
banquet hall
Cf. Al-Khazneh, Petra, Jordan
- columns and pediment projecting out of rock cliff
- very Hellenistic and energetic

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Model of an insula at Ostia
2nd Century AD - Roman art
built houses and buildings vertically instead of horizontally
used roman concrete

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Floor mosaic from the Baths of Neptune
2nd century AD - Roman art
made from cut stone
4 horses drawing chariot
Neptune floating along by himself
see some non-elite art

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Tombs of Working Men and Women: Relief of a vegetable vendor
2nd century AD - Roman art
relief of vendor selling vegetables
standing behind table
- presented as if the top is turned up (bird’s eye view)
man is getting out in a practical business way
hairstyle is similar to Trajan’s (similar date)
simple clothes (tunic)
simple, common guy

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Column base of Antonines Pius, Rome
2nd century AD - Roman art
Hadrian adopted Antonines Pius
has Antonines adopt Marcus Aurelius and Lucius Verus
depicts adoption, seated figures
bewinged figure with Hadrian and wife on top - transformation into gods - similar to Parthenon style (even though there’s 600 years between there)
personification of Rome (Roma)
other side
- infantry on pyre
  - figures don’t quite fit, lower class art
  - this style becomes more common
juxtaposition of the 2 styles

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Equestrian statue of Marcus Aurelius
2nd century AD - Roman art
bronze statue
Marcus riding horse
milirary position
gesturing to people below
looks as if he’s a little old

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Portraits of a husband and a wife, Pompeii
1st century AD - Roman art
husband holding scroll - just married her!
wife holding syllus - just married him!
marriage contract

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Mummy portraits (encaustic on wood)
2nd century AD - Roman art
portrait of a priest of serapis, faiyum, Egypt
depictss individual
painted on wooden panel
shows mastery of textures and lights and darks
encaustic - mix color with wax and apply it with tools onto wood

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Painted portrait (tempera on wood) of Septimius Severus and his family, from Egypt
3rd century - Roman art
Marcus Aurelius didn’t plan succession very well
- cometus (son) not prepared and assassinated
- civil war followed
Septimius Severus won through civil war
- tried to make himself look like most recent good emperor and make people believe he’s Marcus Aurelius’s son
military future
damage on face of Caracalla’s brother
- iconoclasm - Caracalla wanted to be the sole emperor and killed his brother and destroyed all pictures/images of him
portrait shows stability of generations
Septimius has golden crown
wife has nice clothes and up to date hairstyle
piece explains succession
Caracalla is assassinated without a plan of succession

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Portrait of Caracalla
3rd century - Roman art
depicts caracalla as being rough and intense
- intense expression in eyes (pupils)
- head looking over left shoulder long, curly hair and beard gone
  - military cut - sticks for a while
- sculpture uses eyes to explore expression - very true to life
  - uses many abstraction to do this
    - triangles on forehead
    - lines on nose, laugh lines, and triangles on forehead create X on face
    - abstraction becomes more common

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Chariot Procession of Septimus Severus, from arch at Lepcis Magna
3rd century - Roman art
transition towards style of Middle Ages
- abstraction
- different formations of figures, faces
clear dynastic statements of Septimius Severus showing off sons
- he and his sons are depicted as frontal
  - looking for clarity - who’s most important
figures in back are elevated for clarity
- don’t have legs - not looking for optical reality
proportions aren’t correct
drapery detailed but simple
- folds are incisions - linear way of showing drapery
compare to arch of Titus
Classical style is somewhat rejected

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Baths of Caracalla, Rome
3rd century - Roman art
large imperial bath
- imperial gift to people
symmetrical relative to front
multipurpose area
- like spa and health center
important cultural aspect in life
great feat of engineering (aqueducts)
spaces of movement and vision (axis)
cold room, warm room, hot room
big swimming pool
groin vaults above cold pool
- clerestory lighting - 8 windows (fenestrated)
  - 3 big groin vaults

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Frigidarium, Baths of Diocletian
3rd century - Roman art
now church of Santa Maria degli Angeli
groin vaults, clerestory lighting
shows what frigidarium would’ve looked like

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Trajan Decius
3rd century - Roman art
only emperor for a few years
depicted with old age
covered with wrinkles
short hair
bags under eyes, lines by nose and mouth
staring a little to the left
psychological portrait
worried expression - anxiety for possibly wondering how much longer they have in power
read emotions through face and eyes
instant of reality

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Trebonians Gallus
3rd century - Roman art
emperor depicted with heroic nudity

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Ludouisi Battle Sarcophagus
3rd century - Roman art
figures on top of each other, crammed together
no figure completely portrayed

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Sarcophagus of a Philosopher
3rd century - Roman art
philosopher sitting in center with two women flanking him

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Temple of Venus, Baalbek, Lebanon
3rd century - Roman art
curved in back
scallops all around on base and roof
cella wall is circular
- play of concave and convex forms
circular dome on top
pediment in front of dome
- has arch in it
- baroque

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The Tetrarchs
3rd century - Roman art
Diocletian planned to reform military, government, and succession
- wanted to have 4 leaders - tetrarchy
made of purple stone
2 groups - each pair hugging each other
West
- __one Augustus - Maximian
- one Caesar - Constantius Chlorus
East
- one Augustus - Diocletian
- one Caesar - Galerius
system only worked once
statues very abstract
shows similar faces
- represents the tetrarchy

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Model of the Palace of Diocletian at Split, Croatia
3rd century - Roman art
architectural version of tetrarchy

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Arch of Constantine
4th century - Constantine
Constantine defeats Maxentius at the Battle of Milvian Bridge, Rome 312
Constantine had revelation and converted to Christianity - put Christian symbol on shields of army - won battle
Arch
emperor on dius - elevated
- attendants on either side
is being generous to people
figures are squat and stocky
style is more linear - way of the future

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Colussus Constantine
4th century - Roman art
clean shaven, short hair
aloof expression

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Coin portraits of Constantine
1st coin
- profile with beard - Tetrarchy (NOB CAES)
2nd coin
- has no beard and looks younger (PF AVG)
- is 3/4 view - looks more like himself
- has other elements (horse, staff, armor)
- has a shield - depicts wolf with Romulus and Remus
  - has connection to founding of Rome
- helmet has fancy plumes with XP - first 2 letters in the name of Christ
- staff looks like a cross - imbedded reference to Christianity
  - turning point in the world

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The Synagogue at Dura-Europos, Syria
3rd century - Early Christian art
Wall paintings; Samuel annoints David
- samuel the prophet annoints King David
- linear frontal style
- most important figure is the one in the middle with a purple toga, with samuel pointing to him

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The Domus Church
3rd Century - Early Christian art
house church - place where Christians worshipped
house modified for religious uses
- initiation ceremony, courtyard

The Martyrium
Place where martyr is buried (person who dies for their beliefs)
Shrine of St. Peter, Rome
late 2nd Century - Early Christian art
floor cemetery on sloping floor
layering
tombs looked like houses
one is tomb of St. Peter

Catacomb of Saint Peter
early 4th century - Early Christian art
Catacomb
- long tunnels dug underground so they could bury their dead (necropolis)
- locupus (recesses) where the bodies are placed in the walls
- didn’t believe in cremation opened up into cubiculum (chapel area) that housed rituals
- last supper occured in one - was last dinner that Christ had with his apostles on his last day before crucifixion.
  - turned water into wine
  - started mass
  - pass bodies/spirits to heaven
St. Peter
- The Good Shepard, Jonah, and orants
  - center figure in circle
    - christ as the good shepard - looks after “sheep” (followers) and gives his life up for them
  - lunettes surround circle
    - depicts the story of Jonah
    - Jonah was thrown overboard by crewmates and was swallowed by sea monster (“whale”)
    - but he is spit out on the shore - foreshadow to the crucifixion and ressurection of Christ
  - orant figures in between

Old St. Peter’s Basilica, Rome
4th century - Early Christian art
very big building built by Constantine (imperial size)
built in outskirts of Rome
entry courtyard with surrounding colonnade
inner hall with nave
- nave rises up higher to form clerestory
go through propylea into atrium, Nave, transcept, apse
- borrowed from Romans - atrium, rectangular room with columns, arches over columns, apse looks like triumphal arch
  - walking into church is like colonnaded street with triumphal arch at the end

Santa Sabina Basilica, Rome
5th century - Early Christian art
smaller than St. Peter’s
apse at end
clerestory lighting
columns carry arches
flat ceiling
simple side aisles
columns/marble from Roman buildings
spolia - architectural elements taken from building and added to another building

Santa Costanza (mausoleum of Constantine’s daughter), Rome
4th century - Early Christian art
Central plan
circle room with colonnade around it
more colonnade inside - forms ambulatory on outside
- inside is area of worship
- columns with arches
vaulting - covered in mosaics
- framed by border, a lot of vine work
- interesting scene - daily life
- wagon of grapes pulled by oxen
- men stepping on grapes - grape juice coming out of lion head spouts
  - does not relate to religion
  - borrowed from ancient reputiore
- has vines because of Jesus “I am devine, you are the vines”

Mausoleum of Galla Placidia, Ravenna
5th century - Early Christian art
red brick outside with blind arches
imside has marble flooring and mosaics all over the walls and vaults

Good Shepherd Mosaic
5th century - Early Christian art
christ as good shepherd, motifs

The parting of Lot and Abraham mosaic
5th Century - Early Christian art
Santa Maria Maggiore, Rome
Grouped figures similar to Trajan’s column and minotaur
- head clustering
small scale architecture
using Roman stylistic features

Sant’ Apollinare Nuovo, Ravenna
6th century - Early Christian art
Christ in center with purple clothes
flanked by apostles
depicts miracle of the loaves and the fishes
- christ blesses them to feed thousands of people
- apostles holding things with veiled hands
  - signifies that things are sacred

Vatican Vergil Manuscript
5th century - Early Christian art
Manuscript with Roman poet Vergil’s text on it

Rebecca and Eliezer at the well, from Vienna Genesis
6th century - Early Christian art
velum prepared with purple wash
shows Genesis
depicts story of Rebecca walking out of Roman town to go to water well
- continuous narration - more than one figure of Rebecca to show motion
half naked woman - water spirit, nymph

Christ before Pilate, from the Rossano Gospels
6th century - Early Christian art
New Testament
purple painted velum
depict final events in Christ’s life
- Jesus being judged by Roman judge
- dramatic scene
- jews condeming Jesus
  - want to free other guy - Porabus (labeled)
  - want to crucify Jesus

Sarcophagus of Junius Bassus
4th Century - Early Christian art
Rome
Junius Bassus - wealthy individual
colonnaded facade
Christian and Jewish iconography
- example of combining of Christian and Jewish images on Christian art - identifies Christianity’s roots in Jewdaism
Adam and Eve take forbidden fruit
old and new testament
old - Gob
new
- Christ enthroned - Christ in middle with attendants on either side - like Roman magestrates
  - We know he’s in Heaven because there is a man holding Christ up at the bottom who represents the sky - like on Primaporta Augustus
- christ riding on a donkey
  - looks triumphant, young, like a clean-shaven roman

Ivory Diptych of the Symmachi
6th century - Early Christian art
traditional priestess with attendant
style

Justinian as a World conqueror, ivory
6th century - Early Byzantine art
Justinian reclaimed a lot of territory from the Roman Empire
patron of the arts
on a horse
spear in front of litte man - shows conquest
small figures at bottom holding riches
victory figure next to Justinian to crown him
below horse is a figure of the Earth that reaches out to support Justinian
horse has decorative straps - elaborate
- indentation with jewels
Justinian wears crown with jewels and has haircut similar to that of Constantine
Christ in heaven offers blessing flanked by 2 victory figures - shows the triumph of christ
Justinian reigns on earth as Christ reigns in heaven
- similar to Trajan and Jupiter - continuity

Hagia Sophia
6th century - Early Byzantine art
Istanbul
Justinian was patron
built by Anthemius of Tralles and Isidorus of Miletos
minorettes added later
complex building
- rectangle on outside and base
- top is a dome
  - half domes on sides
one of the greatest buildings in history
compare to Temple of Fortuna
dome pushes outward
- semi-domes and buttresses add support
vast interior
enter in narthex and go through door and space explodes in front of you
- eye moves up to dome
- central space defined by 4 piers - support
  - columns in between
many windows all over
- including base of dome
- clerestory lighting
exterior is square
- center is circle
- piers define square around circle
- half-domes surround larger central area
solves problem of fitting dome on rectangular base
- dome on pendentives
- allows you to do this
- pendentives - triangular spaces between arches that support dome
light inside represents Christ and heavenly Jerusalem
in certain light, supports of dome look like they disappear

S. Vital, Ravenna
6th century - Early Byzantine art
octogonal base
celerestory lighting
Narthex - old entrance
- at strange angle
clerestory lighting and regular windows to illuminate apse
piers with columns in between but columns are set back a bit
- floor plan resembles a flower - partially closed and partially open
- challenge for mosaicists

Monastery of St. Catherine
6th century - Early Byzantine art
Mount Sinai, Egypt
virgin of child enthroned
- icon - portable work of art painted (encaustic) on wood
- theory - want to represent stuff unlike our world/beyond out realm
- space - can’t measure space between angels and Mary
- light - eminates from within, light and shadows don’t work right
- weight - feet are not completely flat on the ground
- time - eternal, outside of time
  - only good materials used
people were worried that they were worshipping the pictures (the wood and paint)
but you worship the realm behind the painting not the painting itself
matter is noble because God enobled matter

Ascension of Christ, Rabbula Gospels
6th century - Early Byzantine art

Monastery of Hosios Loukas
843 - 1204 - Middle Byzantine art
Phocis, Greece
dome with windows
apses
go into Narthex and then space opens up to dome
Dome on squinches -
- filled extra space in corners
- mosaics inside, support dome
piers have mosaics
hierarchial scheme
ideal iconography
- hierarchial cosmos (3 zones)
- topography
- liturgical calendar
Apse - Mary and Christ child
- the “bridge” between piers and God and humanity
squinch space
- nativity scene - birth of christ
- Jesus being baptized by John the Baptist

Church of the Dormition
843-1204 - Middle Byzantine art
Daphni, Greece
Christ as Pantokrator
Christ depicted as bearded man, look formidable
holding book (gospel)
looking down - keeping eye on you

The Rise of Islam
Islam started by Muhammed
- participated in caravan trade in Middle East
Mecca - city wit polytheistic religion and idol worhip
Muhammed had visions and revelations about new religion and god
hijra in 622 - flight from Mecca to Medina
Muhammed and his followers forcefully took Mecca
640 - Syria was conquered
642 - Muslim conquest of N. Africa
Islam spread rapidly with a lot of new territory
Mecca - center of Islamic world
- Kaaba - cubi structure used for worship
  - physical focus Muslims worship at
- Jihad - visit to Mecca
Islam - surrend to God
5 Pillars of Faith
- accept confession of faith - only 1 God and Mohammed is messanger of God
- daily prayer to God while facing Mecca
- Charitable giving
- fasting during the daylight hours of Ramadan
- make jihad to Mecca

Dome of the Rock, Jerusalem
7th through 9th century - Islamic art
Political statement by Muslims for conquering Jerusalem
located on Temple mount in Jerusalem
where Jewish temple was located
- only outer wall left over
first Islamic major building
rock underneath it - rock which Abraham almost sacrificed Isaac
marks important religious spot
derives some characteristics from Christian church (tries to surpass that religion)
gateway
ceramic tiles with Arabic writing - no figural representation on any religious art and architecture
blind arcade (series of arches (blind) on each out wall)
dome on top - gold
inside
- octogonal base
- 2 ambulatories
- pattern of piers and columns - pier, 3 columns, pier…
wall mosaics
clerestory lighting - at base of dome
alternating color of stories
marble veneer on pier
floor plan
- octogonal base
- pier in each corner of octogon
The house of Mohammed and the development of the mosque
- Mohammed leads followers in prayer in house setting - led to creation of mosque
- the muezzin and the call to prayer
- the sahn for ablutions
- the qibla wall with is mihrab (nitch in wall) and nearby minbar - stairway

Great Mosque, Damascus, Syria
7th through 9th century - Islamic art
very large structure with 3 minarets
large courtyard in front
floor plan
- axial approach
courtyard
- mosaic on wall surfaces
- vegetative decoration on front wall
- mosaic - roman-like columns, piers, arches
inside - no elaborate furniture
- many rugs placed around
- no shoes allowed
architecture divides interior into three different sections

Great Mosque, Kairouan, Tunisia
7th - 9th century - Islamic art
courtyard in front - large arch facing Mecca
same on three sides but deeper on 4th
Hypostyle hall - uses a lot of columns and arches
entry dome over entryway
- nave way leading up to other dome

Minaret of the Great Mosque, Samarra, Iraq
7th-9th century
not much else is left over except for minaret
spiral staircase

Great Mosque at Cordoba, Spain
7th-9th century
add sections as population grows
- like Islam expanding
elaborate entrance
- 2 dimensional
- inlaid
- black and red
- horseshoe shaped arch
- arches supported by columns abstract decoration
- overlapping arches - for eye to look at
interior
- arches with alternating white and red stone
  - supported by columns
  - lower arches (2 layers total)
  - seems as if it’s open to sky
Mihrab
- in front is maqsura
  - fancy arches (emulate clouds)
dome over mihrab
- a lot of geometry
- square frame with squinch-like formations
- interior is octogon

Friday Mosque at Isfahan, Iran
11th-17th century - Islamic art
open courtyard leads into mosque
recesses in wall - iwan
opens up space

Umayyad Palace, Mshatta, Jordan
7th-9th century - Islamic art
mosque incorporated inside palace
exterior - geometric design with intricate bowl/flower designs
some animal figures - not relgious part

Pyxis of al-Mughira, near Cordoba, Spain
7th-9th century - Islamic luxury arts
container for small items made of ivory
animal figures
human figures - not sacred object

Koran Page, ink and gold on vellumn
7th-9th century - Isamic luxury art
arabic written on it
decorative letters

Dish with proverb from Nishapur, Iran
7th-9th century - Islamic luxury art
arabic proverb on white plate - great contrast “knowledge is bitter at first but is them sweeter than honey”

Alhambra, Granada, Spain
14th-18th century - Later Islamic art
later period
elaborate palace
Islamic paradise
- antithesis of sand and heat
  - oasis of water and vegetation
- go from one courtyard to the next with flowers
Muqarnas dome
- honeycomb like consistency - deteriorates
- Muqarnas decoration
- court of the lions
  - thin columns surrounding fountain with lions around it.

Mosque of Selim II, Edime, Turkey, Sihan (architect)
14th-18th century - Later Islamic art
circular based dome
8 columns for support
large niche for mihrab
similar to Hagia Sophia - competing against it
more of a central plan
- outside looks very similar to Hagia Sophia
- interior
  - inside is unified and open
  - striped arches
  - bright interior
  - hanging lights relatively low
    - low other worldy feeling
- upper galleries

Purse lid, from Sutton Hoo ship burial
600-800 Early Medieval art - before Charlemagne
Suffolk, England
purse didn’t last
abstract decoration, geometry
linear decoration
lines intertwining - forms shape of animal
- animal interlace
center - 2 birds - abstract
humans (abstract) flanking the birds
technique
- gold edges create units that pieces of jewels fill
  - cloissoné: highly decorated piece

Animal Head, from Oseberg, Norway, ship burial
600-800 - Early Medieval art - Before Charlemagne
mast animal head elborated with abstract interlace
- geometry between nose and eyes

Wood-carved portal of the stave church at Urnes
600-800 - Early Medieval art - Before Charlemagne
transition piece for when people in the area became Christians
interlace (mostly abstract but with animal at bottom)
not overtly Christian

Man (symbol of St. Matthew) Book of Durrow
600-800 - Early Medieval art - Before Charlemagne
Christian image of St. Matthew
people still hold onto older stylistic lineage
compare to Paris Psalter
- some depictions are overtly classic and other are not

Cruciform page, from the Lindisfarne Gospels
600-800 - Early Medieval art - Before Charlemagne
a lot of interlace and geometry
edges overlapping squares
amazing interlace
- many small beaks and eyes - animal interlace
done by monks in monasteries (vellum and paint)
religious motive - sacred object

Saint Matthew, from the Lindisfarne Gospels
600-800 - Early Medieval art - Before Charlemagne
has symbol of Matthew (man/angel)
Matthew writing in book
person peeking in from behind curtain
latin for Matthew’s name
Greek lettering at the top
in between classical and non classical
- classical proportions
- linear forms inlike classicalism
St. Matthew is very compartmentalized
- many outlines and shapes

Chi-Rho page, from the Book of the Kells
600-800 - Early Medieval art - Before Charlemagne
filled up with Christ’s name
many designs fill spaces around it
elaborate interlace
small animals depicted at bottom
- cats and mice
- virtuoso aspect - not related to Christianity

Equestrian Statue of Charlemagne, from Metz, Germany
9th century - Early Medieval art - Carolingian art
Charlemagne crowned first christian Roman Emperor on Christmas day
statue very similar to that of Roman Emperor
Charlemagne wanted to revive Roman Empire with Christianity
- also wanted to revive learning
- brought in a lot of scholars and books
capital at Aachen, Germany

Palace Chapel of Charlemagne at Aachen, Germany
9th century - Early Medieval art - Carolingian art
Odo of Metz - architect
central plan
octagonal base
similar to San Vitale
arches with galleries
strong arches - alternating colors of stone
3 arches - Trinity
conscious borrowing of older designs
upper level gallery had throne where Charlemagne watched mass

St. Matthew from the Coronation Gospels
9th century - Early Medieval art - Carolingian art
Aachen, Germany
made for Charlemagne’s coronation
style is very classical
Christian context (halo)
St. Matthew writing in book
classical elements
- space: like real visual space (book stand blocks left leg)
- proportions are accurate
- details are classical
- right shoulder connects to neck
- garments/drapery have classical folds
compare to book of Dorrow

St. Matthew from the Ebbo Gospels
9th century - Early Medieval art - Carolingian art
France
very energetic
very focused
energized because he is inspired by the holy spirit
aggitated brush strokes (drapery) (landscape - winged figure in upper right corner is the inspiration)
Medusa-like hair

Utrecht Psalter, Reims, France
9th century - Carolingian art
psalter (psalm book)
in latin
references to buildings and walls
have text near picture - go together

Front cover of the Lindau Gospels
9th century - Early Medieval art - Carolingian art
gospel book
image of christ on the cross - what book will be about
cross divides gold zone into 4 units (geometric design)
angelic figures
Mary, John
gems set into sections on border

Schematic plan for a monastery at St. Gall Switzerland
9th century - Early Medieval art - Carolingian art
plan model for everything needed to build monastery
drawn on parchment
what you need:
- church
- living quarters
- cemetery dining area
- library
- garden
- farm
- bakery
- brewery
- cooper barrel maker

Westwork, abbey church, Corvey, Germany
9th century - Early Medieval art - Carolingian art
double spires - towers on either end
frontal arch - eternal

Nave of the church of Saint Cyriakus, Gernrode, Germany
10th century - Early Medieval art - Ottonian art
similar to Santa Sabina
- basilican form
- wooden flat roof
- clerestory lighting
- apse at end
different to Santa Sabina
- Sabina has 2 arch level support structure
- church as 3 level support structure (nave elevation)
  - gallery below clerestory lighting
  - will continue in the future
- alternating column and pier structure

Saint Michael’s, Hildesheim, Germany
10th century - Early Medieval art - Ottonian art
a lot of different architectural forms (exterior)
striped arch (Islamic-like)
2 part elevation

Bronze Doors of Bishop Bernward, St. Michael’s
10th century - Early Medieval art - Ottonian art
read from bottom-up on left to top-down on right
Genesis: the creation of Eve
- Adam recovering from losing rib
- Eve standing nearby
- God working over Adam
- God pushing Adam towards Eve
The Fall
- Eve taking apple
God angry at Adam and Eve
- Adam blames Eve
- Eve blames snake (devil)
  - thrown out of paradise and have to work

The Crucifix of Archbishop Gero, for the Cologne Cathedral
10th century - Early Medieval art - Ottonian art
6ft tall
largest work sculpture in a while
painted with gold
shows christ suffering
- evokes emotion

Jesus Washing the Feet of Peter, from the Gospel Book of Otto III
10th century - Early Medieval art - Ottonian art
available to elites (monks, emperor)
Ottonian style
important - ending of redemption story
Christ has introduced eucharist
11 apostles getting feet washed by Jesus
- shocked apostles because slave normally wash people’s feet
- Christ is setting an example for others

Annunciation to the Shepherds
10th century - Early Medieval art - Ottonian art
Reichenau, Germany
contorted posture similar to that of Adam and Eve from bronze door
drapery and proportions different from classical style
compartmentalized shapes - purse lid
theologically important - beginning of redemption

St. Etienne, Vignory
11th- first half of 12th century - Romanesque art - France
3 part nave elevation
round arches
wooden ceiling
large permanent seats
priest raised up amd is moved closer to audience
clerestory lighting
lowest nave level - piers
second nave level - pier, column pattern - pier changes to large round column part way down - more complicated
third nave level -round arch windows
exterior
- 3 roofing levels for side chapels and altar
  - well articulated
- compare to exterior of Santa Sabina
- clearly articulated arch inside - connects nave to apse
- mystical quality through open apse

St. Sernin, Toulouse
11th - first half of 12th century - Romanesque art - France
definintive cross shape
large facade, nave, seecondary roof line, tertiary roof line - two side aisles
- lighting from windows in second aisle and side walls.
chapels at end - complex expression
nave leading up to crossing and then apse
several radiating chapels at the end - supports practice of worshipping various saints - containted relics (pieces of the saint’s bodies or pocessions)
interior
- very long view
- compound piers on sides - go all the way up to the ceiling - capitals at top of piers
- barrel vaulting in ceiling
- nave arcade and gallery
- side aisle
  - groin vaults
- 2 side aisle units together = width of nave

Abbey church of St. Pierre, Moissac; cloister
11th - first half 12th century - Romanesque art - France
wide door with lintel over it
so wide it needs support in middle
scalloped jambs on either side of door
support in center - trumeau
lintel, tympanum, archivolts, voussoirs

Cloister at St. Pierre, Moissac
11th - first half of 12th century - Romanesque art - France
private area for Monks to walk around, pray, relax…etc.
columns and arches and carvings all along side
piers in corners
- relief sculpture with Romanesque arch depicted
- man fits inside arch perfectly - 2D

Abbey Church at Cluny (Cluny III)
11th - first half of 12th century - Romanesque art - France
biggest medieval church in Europe
nave vaults rising up to 100 feet
- strove to push it as high as they could
- slightly pointed arches
- 3 part nave elevation; second part is blind
- elaborate altar, chapel area
most is torn down now

Abbey church of Notre Dame, Fontenay
11th - first half of 12th century - Romanesque art - France
sisturnian order - very bare and simple
1 level nave arcade
pointed vaults
altar is simple

Speyer Cathedral
11th-12th centuries - Romanesque art - Germany
2 level nave arcade
square bays covered with groin vaults

Sant’ Ambrogio
11th-12th century - Romanesque art - Italy
Milan
church proper with 2 towers
central ailse with nave
open area that looks like Roman atrium with columns supporting arches
pavement divided into verticals and crossways like the bays
- harmony
3 arches lower and upper part of building
- trinity
piers connect to pavement design
groin vault - rib groin vault - give better support

Pisa
11th-12th century - Romanesque art - Italy
Baptistery
- religions - baptism is very important - entry into Christianity
- made of white stone
- blind arches at base
- elaborate design at top
- arches stand in front of walls
- font, elaborate pulpit
Cathedral
- facade
- open arcade - light, lacey feeling (light and shadows) 5 units
Campanile (bell tower) Leaning Tower of Pisa
- 8 units open arcade
- rises to a little over height of cathedral
- soil is uneven

Baptistery of S. Giovanni
11th-12th century - Romanesque art - Italy
Cathedral - duomo
place where you become of Florence citizen/member of church
each side (8) has 3 blind arches
central plant, octagonal base
uses stone used in Florentine architecture
patterns look like ancient Roman veneer
Gates of Paradise
baptismal font inside
dark and light colors
San Vineato
- in harmony with Baptistery of S. Giovanni
- only facade is decorated
- interior has columns with arches

St. Etienne, Caen, France
11th-12th century - Romanesque art - Normandy and England
divided into 3 parts, 2 lateral zones with towers
windows in 3’s as well
Tri-elevation
nave arcade rises up into the vaulting
vaulting - experimental
- round arches across nave
- elaborate vaulting with ribs
- 6 compartments

Durham Cathedral, Durham England
11th-12th century - Romanesque art - Normandy and England
column, compound pier pattern
clerestory lighting
vaulting
columns don’t reach vaulting - keep you focused on lower level
more emphasis on horizontal axis than vertical
compound piers are bigger than columns
- seven part vaults with groin vaults between each column

Bernardus Gelduinus, Christ in Majesty, St. Sernin, Toulouse
11th - first half 12th century - Romanesque art
Christ seated on a throne
right arm gesturing out toward us
book open on knee
mandorla surrounds him (full body halo)
- figure of 4 evangelists at top and bottom of mandorla - mandorla defines space figure is in
eternal/unchanging presentation
more non classical than classical
space is completely removed
- christ is “hovering” on thrown
- compartmentalized drapery
- thrown divided into arch compartments
- no sense of real anatomy
- border alternates between circles and diamonds
  - traced from Greek and Roman molding (bead and reel)
compare to Matthew in coronation gospels

Relief of Abbot Durandus - Saint-Pierre, Moissac
11th-12th century - Romanesque art
abbot fills space perfectly
bodies take form of space

St. Pierre, Moissac, France, South portal, tympanum = Christ in majesty
11th - first half of 12th century - Romanesque art
big doorway
general public couldn’t read / were literate but they could read the sculpture
designed to influence behavior
- go to heaven or hell - shows you what happens
left jamb - St. Peter, St. Paul facing him on left side of Trumeau
right jamb - old testament
old and new testaments support church
Luke 16:19 Dives and Lazareous - left side (bad)
- man guilty
- monster torturing women
  - what would happen if you sin
  - at eye level so people notice it
on top is Dives enjoying food with family
- beggar outside (Lazarous) wanting food
- dies and angel brings him to heaven and “bossom of Abraham”
- Dives dies and monster escorts him to hell
Right side (good)
- baby Jesus born, Mary and Joseph protecting Jesus
scalloped edges surrounding doors
- characteristics of sculpture
  - intense expression
  - unbridaled fantasy
  - agility of figures
Front of Trumeau
- animals stacked on each other, like together
- animal interlace - not Christian, like precarolingian
timeless
old testament prophet fit into space
- long hair, great mustache

Saint - Lazare, Autun
11th - first half of 12th century - Romanesque art
entrance
open arches on sides
lot of columns
- each carries an arch that surrounds tympanum
tympanum
- narrative
- christ (2nd coming and end of world) in center surrounded by angels
  - 4 angels playing trumpets signaling end of world
- people going to hell on left of christ
christ in mandorla
- intense expression and agility
- compartmentalized drapery
people rising from graves to be judged
sculptor - Gislebertus (written)
some people from graves carrying bag with shells
- pilgrims that worshipped God
others are naked and concerned for judgement
- being attacked by monster - connected to specific sins
Peter holding keys
- helping small figure up into heaven
angel participating in weighing of souls
- monster trying to pull down bad side of person (unsuccessful)
- monsters are rigid, open mouthed, claw feet

Benedetto Antelami - King David, West facade of Fidenza Cathedral
11th - first half of 12th century - Romanesque Classicism
revived statues that are in the round
3 dimensional
classical drapery
little contropossto
- scroll picks up jutting out of hip
- weight leg and jutting knee on same leg - unrealistic

Renier of Huy - Baptismal font from Notre-Dame-des-fonts
11th-first half of 12th century - Romanesque Classicism
good anatomy in figures
classical

Christ in Majesty, apse from Santa María de Mur
11th- first half 12th century - Romanesque art
Christ in mandorla
4 evangelists
priests below
theme is designed to move individuals from out world into spiritual world - focuses them
- occurs often
permanent/eternal - not narrative
tells a reality

Bayeaux Tapestry, from Bayeaux Cathedral
11th- first half of 12th century - Romanesque art
wool on linen background - embroidery
tells a story
the Battle of Hastings when William the Conqueror invaded England - changed English
- brought french language which was heavily anchored in latin
church, hand of God, people carrying body
- “Here the body of King Edward is carried to the church”
Battle of Hastings
- borders
- many figural positions
- most Roman-like work in Romanesque period

Amiens Cathedral
1140 - 1300 - Gothic France
large central portal
side portals - aisles
2 towers associated with aisles
center and top is Rose window
- made of stained glass
- light passes through window and creates colors on the inside
openness with arcades
towers dematerialized with pointed arches
pointed arches are the norm
more radiating chambers - more elaborate
long axis; groin vaulting
projections on sides - buttresses
144 feet tall in Nave
4 part vaulting
greater emphasis on drawing eye up to top with columns
3 levels - nave arcade, triforium, clerestory
- openness between nave and aisles is more noticable
- architecture is light/open
- triforium isn’t open to outside but to roof
- piers buttresses help keep building up
  - flying buttresses allow clerestory lighting
  - dematerializes wall surfaces
vaults - ribbed groin vaults with piers supporting it
openess of space is due to using pointed arches
can’t see the support on the inside
people struck by the lightness on the inside
flying buttresses dematerialized and not solid
end of apse = chevée

St. Denis
1140 - 1300 - Gothic France
Abbot Suger wanted to expand Carolingian church
bottom is very Romanesque
as facade rises there is a rose window
abbey
- apse with radiating chapels
- no walls in between radiating chapels
- open area with interesting vaulting
beginning of Gothic architecture
space is defined by columns/openness and not walls

Chartres Cathedral
1140 - 1300 - Gothic France
example of early Gothic and high Gothic styles
a lot more material used for support than Amiens because they were not sure if it would hold up
royal portal - entrance that has images of kings and queens of France
- 3 portals with pointed arches
statues on columns - west end
- figures relate to columns because they retainted long, slender nature of columns
- drapery looks like fluting on columns
  - similar to archaic style
  - compartmentalized drapery
- great details
south portal
- figures on columns are breaking away from column shape
  - more of a human representation - more classical
- some have contropossto
inside
- 129 feet tall
- best stained glass in Gothic cathedrals
- central figure on red background with blue background surrounding
- many sitting with christ child
- angels surrounding them
- same figure in center of the rose window
  - given by Blanche of Castille

Laon Cathedral
1140-1300 - Gothic France
Amiens is almost twice as tall
6 part vaulting scheme
nave arcade, triforium, clerestory - 4 levels
columnettes start at the top of column capitals
alternating support systems
rounded arches
rose windows

Notre-Dame, Paris
1140-1300 - Gothic France
columns with colonnettes starting at capitals
nace arcade, triforium, rose window, clerestory
- 4 part elevation in front
- 3 part elevation for the rest of it
gargoyles that spit water
Madonna and Child
- dressed like queen of France
- takes classical style and pushes it
  - more S shaped curve although no contropossto
    - late Gothic
  - compare

Reims Cathedral
1140-1300 - Gothic France
late Gothic style
sculpture - attached to column but not influenced by them
- younger woman talking to older woman with gesturing - the visitation of Mary to her cousin
  - talking in intimate way

Sainte-Chapelle, Paris
1140 - 1300 - Gothic France
barely a wall - covered mostly by stained glass
walls are almost completely eliminated
exterior
- doesn’t need flyers because it’s so small

Bible Moralisé Illumination
1140-1300 - Gothic France
God as creater of the world
God portrayed like an architect
holds a straight edge and compass
- brings order and control
figures look more human - compare to classical
right foot steps outside of frame

Blanche of Castille, Louis IX, and two monks, moralized bible
1140-1300 - Gothic France
Vienna
portrayed in architecture frame
2 registers
trefoil frames
bottom register - monks making manuscript
top register - King and Queen

Psalter of Saint Louis, from Paris
1140 - 1300 - Gothic France
Abraham and wife and angels
2 scenes split in middle - continuous narrative
similar to scene in San Vitale
architectural frame of Gothic style
elaborate border and ornamentation - interlace pattern - animal interlace

Salisbury Cathedral
1220 - 1520 - Gothic England
east end in flat - linear construction
longer trancept in middle
smaller on behind that
tower with spire on top
not as elaborate buttresses
cloister and chapel house
surrounded by green
only a few buttresses
facade - screens off rest of cathedral
- projects out farther than side aisles
- no rose window - but 3 tall, pointed lancet windows
- portal down below - 3 in central area, 2 on sides
- facade doesn’t relate to interior
- more horizontality than verticality
- facade split into 5 zones
Richard Poore, Bishop of Salisbury
- bishop when cathedral was started
- dressed in clerical robes and head gear and had staff
  - shepherd staff
- carrying model of Salisbuty Cathedral in right hand
- compare to visitation on Reims and Chartres
- compare to Romanesque and early gothic sculptures
nave and side aisles are very open
clerestory lighting
pointed arches
pointed window
3 part elevation
horizontality on interior
compound piers - vertical columns only go to top of nave arcade and not to the vaulting
grayish marble carries eye down nave arcade
lower part of arches in triforium is dark gray as well
cloister - strong piers with motifs that look like windows
- pointed arch
  - on top is circular shape and 2 lancet shapes below
    - form is picked up higher on wall
    - different marble colors
    - blind set of arches on wall across from arches
chapel house - octagonal shape
- lots of windows - illumination
- central column rising up - links to vaulting and windows
- Magna Carta is stored here

Gloucester Cathedral, Choir
1220 - 1520 - Gothic England
very elaborate
flat east end
perpendicular style - emphasizes vertical
central window has many divisions and lancet shapes
elements/columns rise all the way to vaulting
each compound piers “explode”/expand into vaulting
rib vaulting covered by decoration
tomb picks up on verticality
- elements rise up
- sculpture of deceased king on tomb

Westminster Abbey - Chapel of Henry VII
1220-1520 - Gothic England
perpendicularity of compound piers
vaulting is super elaborate
intricate webs - stalagtite-like things hanging down

Cologne Cathedral, Cologne
1180 - 1280 - Gothic Germany
French model being used in Germany
vertical emphasis
4 part vaulting
- looks very gothic
construction went of for 600 years

Saint Elizabeth, Marburg, Germany
1180 - 1280 - Gothic Germany
Hallenkirche
- nave vault and side aisles rise to same height
- no elevation, no clerestory lighting

Death of the Virgin, tympanum, Strasbourg Cathedral, Strasbourg, France
1180 - 1280 - Gothic Germany
figures are gothic - look very human
doesn’t represent actual scripture scene - what it would be like
Mary is on her death bed and attended by the aspostles and Mary Magdalene - focused gesture
in order to fit space, taller apostles are in middle and shorter ones are on sides
- all apostles and christ are looking at Mary
- Christ holding Mary’s soul (little statue)

Naumburg Cathedral, Naumburg
1180 - 1280 - Gothic Germany
Ekkehard and Uta
- life size statues
- represented as significant people
  - paint/color still survives - example of what kind of paintings were on statues
- attached to architectural element
- Ekkehard looks “well fed” - status/condition of age
  - carries shield and sword
  - lifts up strap of shield
- Uta is wearing voluminous cloak and warm head gear
- right arm under cloak with form revealed
- free hand pulls cloak toward her - looks real/soft
- “keeps” herself aloof from lower class subjects
  - looks cold
- cloak is red and green
- very subtly painted

Klosterneuburg Altar, Nicholas of Verdun
1180 - 1280 - Gothic Germany
work of guilded copper and enamel with old and new testament stories
architectural forms on scenes
- Abraham about to sacrifice Isaac
  - compartmentalized sections like that of Ottonian art

Shrine of the Three Kings, Nicholas of Verdun
1180 - 1280 - Gothic Germany
reliquary - place to keep relics
architectural form
sloping roof, nave
columns supporting arches
ends
- Mary sitting with kings, decorated with jewels
  - high relief figures
figures on sides lean out to look into next compartments

Orvieto Cathedral (Duomo)
14th century - Gothic Italy
facade by Lorenzo Maitani
screen standing in front of rest of building
towers on edge
inlaid designs
mosaic elements
Details
- colonnettes have spiral design with great detail and inlay work
interior
- simple roof like early Christian buildings
- striped columns
- small windows
  - Romanesque
- only facade is Gothic

Santa Croce, Florence
14th century - Gothic Italy
simple roof structure
pointed arches
pointed windows at end
no high vaulting
nothing rises from floor to ceiling
horizontal element wraps around entire interior

Florence Cathedral (Duomo)
14th century - Gothic Italy
doesn’t strive for verticality but is enormous
long construction period
has huge dome
- outward walls are thick to counteract the thrust from the dome
small windows on sides
nave divided into 4 zones
- only 4 bays leading up to apse
- bay in the nave is twice as large as the side bays
Dome by Filippo Brunelleschi

Annunciation, Nativity, Adoration of the Shepherds - Nicola Pisano

14th century - Gothic Italy
from the Pulpit, Baptistery, Pisa
- grand colonnaded structure
- columns rise up to corinthian captials
- eagle (book stand) on top
everything packed in Mary interacting with angel Gabriel
Mary gives birth to baby Jesus
- takes up entire center - reclining
animals in right bottom corner
baby’s first bath
angel is addressing Mary in stately fashion - classical - like roman figure - garments flip up
- Mary is taken aback
- Mary evokes style of Greek goddesses
Nicola works in a style that evokes classical Greek art

Annunciation, Nativity, Adoration of the Shepherds - Giovanni Pisano
14th century - Gothic Italy
from the Pulpit in Sant’ Andrea, Pistoia
son of Nicola Pisano
evokes characteristics of Hellenistic era
more emotion
- angel Gabriel’s leg rises and head inclines/sticks out
- Mary seems to step back more
- Mary reaches out to baby - tenderness between mother and child
- lady tests water for baby’s bath - shows realistic quality
- Joseph’s head projects out and is thinking

Madonna Enthroned - Cimabue
14th century - Gothic Italy
Florence
painting on panel
Tempera
painted in the Byzantine style
devoid of space in our world
light is emanating from within
overlapped angels but it doesn’t create illusion of space
all eyes visible - no profile - make contact to holy images
no sense of solid woman in throne
Giotto’s is very different

Madonna and Child Enthroned - Giotto
14th century - The Renaissance Begins
changes with light, weight, and inward extension
light comes from top right
- light strikes back and shoulder of angels on right and chest of angels on left
- uses light to model figures
- angels are in profile
depth
- throne has depth to it
- angels overlap and they look like they are receeding with distance
Chiaroscuro - combination of light and dark in a composition
weight - Mary looks like she is sitting in chair
Renaissance - Humanistic approach

Madonna Enthroned, center of Maestá Altarpiece - Duccio
14th century - The Renaissance Begins
influence of Giotto
Mary is definitely sitting - light hits her knee
goods were coming in from other countries
- lots of silks and rich fabrics/textiles
- portrayed in painting - real textures

Effects of Good Government - Ambrogio Lorenzetti
14th century - The Renaissance Begins
fresco on a wall
protrays a contemporary city - modeled on Siena
walls city
effects of good government inside city walls and outside in country
everything is going along harmoniously
- people and animals
- logia provides coverage over people discussing
- women holding hands/dancing
- people bringing in produce from country
countryside
- people heading out of city into countryside
- fields in the distance
- people crossing over safe bridge
- sheep in distant hills
- people carrying things into city
  - guy carrying in special type of pig that almost went extinct
    - cinta senese

Arena Chapel, Padua
14th century - The Renaissance Begins
small chapel with interior decorated by Giotto
located in ancient arena/amphitheater
no windows - completely frescoed by Giotto
scenes from the life of Virgin Mary and Jesus
very small

Lamentation - Giotto - Arena Chapel
14th century - The Renaissance Begins
saddest scene in life of christ
touches upon human reactions
drama of what’s going
2 zones - heaven above and Earth below
- angles in sky show sorrow
death is a theme - death tree, jutting rock
dramatic center - Mary holding the dead Jesus
John is a “human arrow”
Mary Magdalene leans in
faces have dramatic expressions/real human emotions
2 women have their back to us
- we become part of the painting by “entering” gap between the two women