Final Exam Flashcards
Chi Rho Page, Book of Kells, Migrations (Hiberno-Saxon)
In the opening page to the gospel of Saint Matthew, the Painter transformed the biblical text into abstract patter, 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 patter. half figures of winged angles appear to the left of chi, accompanying the monogram as if accompanying christ himself.
the only unadorned letters in the opening of the passage read on christmas eve are the two words autem and generatio: “now this is how the birth of christ came about”
Purse Cover, Sutton Hoo, Migrations (Anglo-Saxon)
purse cover comes from a treasure-laden royal burial ship. the comination of abstracy interlace ornamentation with animal figures is the hallmark of the art of the early middle ages in western europe.
Ship and Post, Oseberg, Migrations (Viking)
the vikings were master wood-carvers. this viking ship post combines in one compostition the head of a roaring beast with surface ornamentation in the form of tightly interwoven writhing animals
Ship and Post, Oseberg, Migrations (Viking)
the vikings were master wood-carvers. this viking ship post combines in one compostition the head of a roaring beast with surface ornamentation in the form of tightly interwoven writhing animals
Matthew, Coronation Gospels, Carolingian, Palace School
the books produced for Charlemagne’s court reveal the legacy of classical art. the Carolingian painter used light, shade, and perspective to creat the illusion of three dimensional forms.
Matthew, Ebbo Gospels, Carolingian, Reims school
saint matthew writes frantically, and the folds of his drapery writhe and vibrate. even the landscape rears up alive. the painter merged classical illusionism with the northern european linear tradition
Utrecht Psalter, Carolingian, Reims School
the drawings in the Utrecht Psalter are rich in anecdotal detail and show figures acting out king david’s psalms the vivid animation resembles that of the ebbo gospels matthew
this picture is “calves to the slaughter”
Palace Chapel of Charlemagne, Aachen, Carolingian
Charlemagne sought to emulate the Byzantine splendor in Germany. The plan of his Aachen palace chapel is based on that of San Vitale at Ravenna but the west facade is distinctly Carolingian
Palace Chapel of Charlemagne, Aachen, Carolingian
Charlemagne sought to emulate the Byzantine splendor in Germany. The plan of his Aachen palace chapel is based on that of San Vitale at Ravenna but the west facade is distinctly Carolingian
Charlemagne’s chapel is the first caulted medieval structure north of the Alps. the architecture transformed the complex interior of san vitale into simple, massive geometric form
Monastery Gateway, Lorsch, Carolingian
Corinthian capitol, ionic capitols, mimicking the triumphal arches of Constantine
Doors of Bernward, St. Michael’s, Hildesheim, Ottonian
Bernward’s doors tell the story of original sin and redemption, and draw parallels between the old and new testaments, as in the expulsion from Paradise and the infancy and suffering of christ
dates to 1015, are more than 15 feet tall. they are technological marvels, because the Ottonian metalworkers cast each giant door in a single piecve with the figural sculpture, carolingian sculpture, the Hildesheim doors are huge, 16 individual panels stem from this tradition.
Bernward placed the doors in the portal to Saint Michael’s from the Cloister, where the monks would see them each time they entered the church. the panels of the left door illustrate high lights from Genesis beginning with the creation of eve and ending with the murder of Adam and Eve’s son Abel by his brother Cain.
The right door recounts the life of jesus (reading from bottom to top). starting iwht tthe annunciation and termination with the appearnce of Mary Magdalene of Christ after his ressurection. together, the doors tell the story of original sin and ultimate redemption, showing the expulsion from the garden of eden and the path back to paradise through the church.
Candlestick of Bernward, St. Michaels, Hildesheim, Ottonian
reliefs depicting additonal episodes from the Jesus’ life decorate a bronze column commisioned by Saint Michael
Gero Crucifix, Cologne, Ottonion
Crucifix commisioned by Archbishop Gero for Cologne Vathedral, Cologne, Germany. Painted wood
In this early example of the revival of momumental sculpture in the Middle Ages, an Ottonian sculptor depicted with the unprecedented emotional power the intense agony of christ’s ordeal on the cross.
6-foot tall image of christ nailed to the cross. compartment in the back of the head held bread for the Eucharist. a crack appeared in the wood of Gero’s crucifix but miraculously healed. similar tales of miracles surround many sacred christian objects.
Gospel of Otto III, Ottonian
Emperor Otto III, 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
Sitting like the Zeus figure in olympia, bigger than all the others signifying importance. everyone is looking at him
at the emperors sides are the clergy and the barons (the state and the church) both aligned in his support
Last Judgement, ST. Lazare, Autun, Romanesque
aboce autun vathedrals porta, at the far left, a trumpet blowing angel announces the second coming. another obliged angel boosts one of the blessed over the fortified walls of heaven
below, the souls of the dead line up to await their fate. two men whose travel bags identified them as pilgrims to jerusalem and Santiago De Compostela can expect to be judged favorably.
christ presides over the seperation 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.
In Gislebertus’s unforgettable rendition of the weighing of the souls on judgement day, angels and the devils agents contest at the scale, each trying to tip the balance for or against a soul.
Saint-Sernin, Toulouse, Romanesque (aerial view)
pilgrimages were a major economic catalyst for the art and architecture of the romanesque period. the clergy vied with one another to provide magnificent settings for the display of holy relics.
Saint-Sernin, Toulouse, Romanesque (plan)
increased traffic led to the changes in church design. “pilgrimage churches” have longer and wider naves and aisles as well as transepts and ambulatories with radiating chapel for viewing relics
Saint-Sernin, Bernardus Gelduinus, Christ in the Majesty, Relief in the ambulatory of Saint Sernin
one of the earliest series of large romanesque figural relifs decorated the pilgrimage church of Saint-Sernin. The models were probably metal or ivory carolingian and Ottonian book covers.
Mission of the Apostles, La Madeleine, Vezalay, Romanesque
in the tympanum of the church most closely associated with the crusades, light rays emanating from christ’s hands instill the holy spirit in the apostles, whose mission is to convert the world’s heathens
Initial R, Moralia in Job, Citeaux, Romanesque
Ornamented initials date to the Hiberno-saxon era, but this artist translated the theme into romanesque terms. the duel between knight and dragons symbolize a monk’s spiritual struggle
a knight, his squire, and two roaring dragons form an intricate letter R, the initial letter of salutation “Reverentissimo”. this page is the opening of gregory’s letter to “the very reverent” leandro, bishop of seville, spain. the knight is a slender, regal figure who raises his shield and sword against the dragons, while the squire, crouching behind him, runs a lance through one of the monsters. although the clergy viewed the duel between knight and dragons as an allegory of the spiritual struggle of monks against the devil for the salvation of souls, Bernarn opposed this kind of illumination, just as he condemned carvings of monstrous creatures and “fighting knights” on cloister capitals.
Cathedral at Speyer, Romanesque
The Imperial cathedral at speyer is one of the earliest examples of the use of groin vaulting in a nave. groin vaults made possible the insertion of large clerestory windows above the nave arcade.
Cathedral at Pisa, Romanesque
Pisa’s cathedral more closesly resembles early christian basilicas than structurally more experimental french and german romanesque churches. Seperate bell towers and bapisteries are italian feeatures
Cathedral at Durham, Romanesque
Durham cathedral is the first example of a rib groin vault placed over a three-story nave. quadrant arches replace groin vaults in the tribune as buttresses of the nave vaults
Bayeux “Tapestry”, Romanesque
The Bayeux tapestry is unique in medieval art. like historical narratives in roman art, it depicts contemporaneous events in full detail, as in the scroll-like frieze of trajans column
Bayeux “tapestry” Romanesque, Battle of Hastings
the Bayeux Tapestry is really an embroidery. the needleworkers employed eight colors of dyed wool yarn and sewed the threads onto linen using both stem stitching and laid-and-couched work.
Cathedral at Chartres, Gothic (aeriel view)
Chartres Cathedral is the key monument of both Early and High Gothic architecture. the west facade still has much in common with the 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 high gothic cathedrals in the use of four-part rib vaults springing from pointed arches and in the introduction of the three story nave elevation
Cathedral at Chartres, Gothic ( Royal Portal, west facade)
The Sculptures of the Royal Portal proclaim the majesty and power of Christ. the tympana depict, from left to right, Christs ascension, the second coming, and jesus in the lap of the virgin mary.
Cathedral at Chantres, Gothic (Porch of the Confessors)
indipendant form architectural framework. although the figures are still attahed to columns, the architectural setting does not determine their poses as much as it did on the west portals.
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
‘St Denis Near Paris, Gothic, Plan of the east end,
The innovative 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
Notre Dam Cathedral, Paris, Gothic
King Philip II initiated a building boom in paris, which quickly became the intellectual capital of Europe. Notre-Dame in paris was the first great cathedral built using flying buttresses
Portal Sculpture, Cathedral at Reims, Gothic
Several sculptors working in a diverse styels carved the Reims jamb statues, but all the figures resemble freestanding statues with bodies and arms in motion. the biblical figures converse through gestures
(Angel smile lady)
Ste. Chappelle, Paris, Gothic
At Louis IX’s Sainte-Chapelle, the architect succeeded in dissolving the walls to such an extent that 6.450 square feet of stained glass account for more than 3 quarters of the rayonnant gothic structure
Saint Louis Psalter, Gothic
The architectural settings inthe Psalter of Saint Louis reflect the lightness and transparency of Parisian royal buildings, such as Sainte-Chapelle. the colors emulate stained glass
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 behidn it. the Architects used Flying buttresses sparingly
Dormition Tympanum, Cathedral at Strasbourg, Gothic
transept tympanum express profound sorrow through dramatic poses and gestures. the virgin mary is going to go to heaven with her son
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 jesu’s suffering and the virgin’s grief
