Medieval and Byzantine Art Flashcards
How did Christian architecture adopt earlier forms? Why did they do so, and what forms did early Christian architecture take? How did architecture relate to burial practices and sites of worship?
Christian architecture adopted the form of the Roman Basilica, a public forum where matters of business and law were executed. They appropriated this form because they wanted the church to be seen as a public gathering place as well. In addition, they built sites over the graves of saints; some circular planned churches, such as the Church of San Vitale, resemble mausoleums as a result.
What choices did medieval artists make to indicate they valued legibility and meaning over mimesis?
They adopted unrealistic and flat styles that focused on meaning and simplicity. There was an idea that too much realism would distract from the core meanings of works.
How does the choice of material play a role in various objects/sites?
Expensive materials were used for representations of holy people and scenes. The monetary value of the materials reflected the spiritual values of the figures portrayed.
Romanesque vs. Gothic
Romanesque: thin, elongated, abstract figures. A dark and gloomy mood. Barrel vaults with round arches, some groin vaults. Somewhat dark and gloomy. Small windows.
Gothic art: more realistic figures. Pointed arches, ribbed vaults, flying buttresses. Stained glass windows. Bright and soaring - intended to make the churches resemble heaven.
Old Saint Peter’s Basilica
Rome. Late Roman culture. 320 CE. Churches were built on the tombs of Saints. Their bodies had the power to make spaces sacred; even after they died, their saintly power did not go away. The format of the building is based on early Roman basilicas – public meeting halls (for justice). The idea of a space to congregate was taken from this old Roman basilica. Atrium (space of transition, ritual cleansing), then the nave, transepts, apse. Tomb of Saint Peter is where the square with the “x” is. Was destroyed in the 6th century, but established a stylistic pattern that many later churches built in.
The Good Shepherd
Mausoleum of Galla Placidia, Ravenna. Late Roman culture. 425 CE. Mosaic. Meaning vs. Mimesis: the motif of the good shepherd was used to represent Jesus. The idea of the symbol takes on more meaning and importance. Not realistic in the way that some Roman sculptures was. More flatness and stylization. This was used to remove the image from the realm of everyday life/to emphasize the divine.
Multiplication of Loaves and Fishes
Sant’Apollinare Nuovo, Ravenna. Late Roman culture. 500 CE. Mosaic. The gold background denotes a divine significance. Jesus wears purple, a royal color. The style eschews realism in favor of a style that denotes a different sphere. Hierarchical scale is not used as before; the central position rather than the size of Jesus indicates his power.
Church of San Vitale
Ravenna. Late Roman culture. 550 CE. Built over the tomb of San Vitale; the building adopts the shape of a mausoleum. A combination of Roman and Byzantine elements.
Purse Cover from the Sutton Hoo Ship Burial
Britain. Early Christian era. Early 7th century CE. Gold, garnet, glass. Royals at the time were buried on ships. Abstract pattern tells no narrative story. The use of natural phenomena to develop patterns such as the intertwining of snakes. Highly valuable material and craftsmanship. A focus on violence, with two dogs devouring men on either side.
Palace Chapel of Charlemagne
Aachen (Germany). Carolingian Era. 800 CE. The chapel functioned as the emperor’s private chapel, a place for relics, and eventually, Charlemagne’s mausoleum. The Carolingian rulers were declared the successors to Rome by the Pope; the chapel has clear Italian roots to reflect this. Has a central plan like the church of San Vitale. Indicates how Charlemagne wanted to evoke Rome.
The Gero Codex
Cologne, Germany. Ottonian era, 970 CE. Parchment, painted and gilded wood. During the Middle ages, monasteries produced manuscripts. Illuminated manuscripts, like the Gero Codex, were very labor intensive and expensive. Hierarchical scale in some of the images, with the more important church figures larger.
Monumental doors / Doors of Bishop Bernward
Abbey Church of St. Michael’s, Hildesheim, Germany. Ottonian era, 1015 CE. Bronze. Each door is divided into eight panels; the left one portrays scenes from the Hebrew Bible and the right portrays scenes from the New Testament. Horizontally, the event from the Hebrew Bible is a complement of the New Testament event. For example, on one side Adam and Eve eat the fruit and on the other side the Crucifixion of Christ. Supposed to be indicative of the effect of the New Testament vs. the Old.
Icon of Christ
Monastery of St. Catherine, Sinai. Byzantine, 6th century CE. Encaustic on panel. The asymmetrical quality of this portrayal of Christ may be a reference to his dual nature. He is at once fully human and fully God. Subtle differences in size and lighting convey an impression of harshness in the right side of his face.
Hagia Sophia
Constantinople (modern Istanbul). Byzantine, 535 CE. Innovative hybrid of longitudinal basilica and central rotunda architectural planning designed by two mathematically inclined architects.
Reliquary of Ste. Foy
Conques, France, Romanesque late 11th century CE. Gold and semiprecious stones�The gold is endowed with a lifelike quality by the piece of the saint contained within. Metonymy – the idea that one small part of the saint stands for the whole. Materials such as gold were chosen to reflect the reliquary’s holy and valuable qualities.
