Midterm

Question 1

Answer 1

The Gero Crucifix

970

Cologne, Germany

Patron: Archbishop Gero

1. carved in oak
2. first monumental sculpture of crucified Christ
3. life size, one of the largest of its time; earliest, finest of German wood sculpted crucifixitions
4. shape of the Gero Cross -> traditional to Carolingian religious art
5. While strong emphasis on the “suffering” of Jesus Christ’s cruxifixtion: slumped head, twisted body, and closed eyes; idealized
6. influence on later crosses: rounded, natural style
7. Byzantine influence -> marriage of Otto II & Byzantine princess Theophano -> catholic church and Byzantine empire

Question 2

Answer 2

Reliquary statue of St. Faith

late 9th century

Conques, France

1. Wooden core with gold and semi-precious stones
2. Reliquary -> container holding the remains of Saint Foy
3. Saint Foy:

• a young Christian convert, living in Roman-occupied France during 2nd century
• martyr (someone who dies for their faith): refusal to sacrifice to pagan gods
• relic important to the church -> pilgrims and wealth to Conques (small, isolated town)​

4. Spolia -> reuse of older matrials in new forms of art; her face staring boldly -> originally, a Roman statue of a child -> not only practical, but also association with the past riches of the Roman Empire
5. representational of Romanesque art -> medieval faith, pilgrims

Question 3

Answer 3

Doors of Bishop Bernward

St. Michael’s, Hidesheim (Germany)

Bronze

1015

Patron: Bishop Bernward

1. Bishop Bernward pilgrimage to Rome -> recreate monumental art he saw -> munumental wooden doors at Santa Sabina illustrating scenes from the Old and New Testament
2. Left ( Old Testament, Book of Genesis) : temptation, then the expulsion; Right (New Testament, Gospels) : Christ presented to either Herod or Pilate, then cruxifxion
3. Visual and Thematic patterns: cruciform shaped tree; Adam & Eve vs. tomentors; trees vs. Mary & John ==> composition, thematic connection of “in Adam all men die, and in Christ all men are made alive” —-> important idea: Christ as new Adam and Mary as new Eve
4. Ottonian art -> inheritence of Carolingian Renaissance: ancient lost wax method, doors cast in two single pieces

Question 4

Answer 4

Marriage contract of Otto II and Theophano

Parchment/vellum

Made in Ottonian Empire

972

1. Diplomatic document Ottnian emperor Otto II, Byzantine empress Theophano -> Holy Roman Empire
2. Prepared by Otto II as a representation of political and cultural contact b/w Holy Roman Empire and the Byzantine Empire; outlines the extensive profits Theophanu will get
3. Marriage act as a recognition of the Ottonian Empire by the Byzantine Empire
4. an example of Ottonian Renaissance art; illuminated manuscript on purple(royal color) parchment.

Question 5

Answer 5

Christ crowns Otto II and Theophano

probably made within the Ottonian Empire

ivory

982/983

1. Christ confering divine benediction upon Otto II and Theophano while both in Imperial costume
2. Hand on each rulers cowned head: a) blessing or b) coronation
3. possible function: to adorn the cover of a royal psalter (a belonging to Theophano)
4. precense of the donor figure
5. political purposes

Question 6

Answer 6

Great Mosque of Córdoba

960

Patron: Caliph Al-Hakam II

1. view looking towards the mihrab: dazzling color combinition forming complex calligrapic bands
2. Temple to the Roman god -> Church by Visigoths -> mosque by descendants of the exiled Umayyads: the first Islamic dynasty, capital Damascus
3. After overthow by Abbasids, recreate Cordoba as the new capital, Al-Hakam II is the second Caliph of Cordoba
4. an exemple of Muslim world’s ability to rebuilt pre-existing buildings with regional traditions -> central to the forming of Islamic style

Question 7

Answer 7

Pyxis of al-Mughira

Ivory

made in Córdoba, Spain

968

1. Pyxis: a cylindrical box used for cosmetics
2. a gift given by a Caliph to his son al-Mughira
3. among the best surviving examples of the royal ivory carving tradition in Islamic Spain; containing an inscription and figurative work which -> understanding ivory carving tradtions and islamic art in Al-Andalus (islamic spain)
4. Ivory: durable, smooth, elegant, and easily carved -> desired material in Byzantine Empire
5. decorated with four eight-lobed medallions surrounded by figures and animals with each medaliion presenting different iconography relating to the pursuits and beliefs of the Umayyads.
   https: //www.khanacademy.org/humanities/ap-art-history/early-europe-and-colonial-americas/ap-art-islamic-world-medieval/a/pyxis-of-al-mughira

Question 8

Answer 8

Cross of Fernando and Sancha

ivory

made in León (Spain)

1063

Patrons: King Fernando and Queen Sancha

1. One of the ealiest known crucifix from Spain depicting the body of Christ
2. “a cross of ivory with the image of our crucified Redeemer”
3. Jey eyes were common at the time in ivory sculptures of the region
4. the small space behind the body -> the piece serve as reliquary as typical
5. inscription: “Jesus of Nazareth, the King of the Jews”
6. below: a digure of Adam
7. below: inscription indicating patronage

Question 9

Answer 9

Morgan Beatus

Parchment/vellum

Made in Léon (Spain)

940–945

1. Illuminated manuscripts with miniatures by the artist Magius of the Commentary on the Book of the Apocalypse by Spanish monk Beatus which describes the end of days and the Last Judgment.
2. the oldest example of a revived Spanish apocalypse tradition
3. fine-quality parchment, thick and uniform in color (vibrant)
4. Did not use the traditional system Catchwaords (Arabic) to put quires in order, instead Roman numerals followed by the letter “Q” -> bookmarkers are not local or Mozarab vocations to the monastery scriptorium.

Question 10

Answer 10

New Minster Charter

Manuscript/parchment

made in Winchester, England

966

Patron: Bishop Aethelwold

1. New minister: a royal Benedictine abbey in Winchester
2. Alfred the Great bought the land whereas his son Edward the Elder, finished the project with the help of Saint Grimbald; body of both were transfered to the New Minister making it an important pilgrimage centre.
3. a page from a 966 charter of King Edgar of England in which he confirms the conversion of New Minister into a Benedictine monastery.
4. Edgar is pictured here standing between the Virgin Mary and St.Peter
5. Charter written entirely in gold -> unprecedent; importance highlightend by the large full-page miniature of the King at the begining of the book: Christ sit above on a rainbow of glory; Edgar holding the charter directly under Christ signifying Edgar’s loyalty to his faith as well as his power is of a divine benediction.

Question 11

Answer 11

New Minster Liber Vitae

Manuscript/parchment

made in Winchester, England

1020

Patrons: King Cnut and Queen Emma

1. King Cnut and Queen Emma presenting a cross to the altar of New Minster
2. not just a record of royal donation, but more of a illustratiion of Cnut and Emma ocuppying a place of spiritual realm
3. risen Christ is the central figure; earthy hieracy also depicted -> below are the monks New Minster, central monk persumably holding the book of life (Liber vitae) including a list of monks of the community inscribed into the pages of the heavenly

Question 12

Answer 12

Bayeux Tapestry

wool embroidery on linen cloth

Bayeux, France.

1070

Patron: Odo of Bayeux

1. called “Bayeux Embroidery” among art historians; final and best known work of Anglo-Saxon art
2. dicpiction of the events leading up to the Norman conquest of England
3. The embroidery illustrated the narrative of the events that took place before, during and after the Battle of Hastings.
4. The Bayeux Embroidery represents the synthesis of the victorious workers [male narrative] and female craftsmanship [illustrated the point of contact between cultures in visual exchange in which resulted in production of something new, how the meeting of two cultures can produced a visual experimentation – neither French or England work, embodiment of stylization and regionalism, Normans = known for utilizing indigenous traditions to suit their own agenda]

Question 13

Answer 13

St Vincente

Cardona

Ca. 1120–1140.

1. Along the nave, three transverse arches, which are evenly spaced, add support.
2. The church was built as a showpiece, and is impressive for its scale—with a height of more than 19 m (62 ft). Its building material is cut stone, and the stonework is both austere and sophisticated, given the uniform size of the cut blocks and the quality of the masonry.

Question 14

Answer 14

Cathedral of Santiago de Compostela

Santiago de Compostela, Spain

begun 1078

1. The cathedral is the reputed burial place of Saint James the Great, one of the apostles of Jesus Christ. The cathedral has historically been a place of pilgrimage on the Way of St. James since the Early Middle Ages, and marks the traditional end of the pilgrimage route.
2. The building is a Romanesque structure, with later Gothic and Baroque additions.

Question 15

Answer 15

Church of Saint-Sernin (St. Saturninus)

1080-1120

Toulouse, France

1. Saint Sernin – early Christian martyr and first bishop of Toulouse
2. Big and well-located church within the city – built to accommodate those who come on a pilgrimage
3. Similar to Santiago but one major – double aisle, maximum flow of people, more space to visitors

Question 16

Answer 16

Miègeville portal

Marble

Basilica of Saint-Sernin, Toulouse (France)

1110-1115

Portal – main surface for decoration in Romanesque architecture

1. Contained lintel and rounded arches, above it is a tympanum
2. Transitional area – symbolic element, ornaments became decorative focus of Medieval Architecture
3. Can announce and prepare viewer of the space that they are about to enter
4. Center – Ascending Christ to heaven, being resurrected – foreshadow of the Second Coming [Last Judgement]
5. Angels with Christ, 12 apostles below with 2 old testament prophets [prophesize the Second Coming] at the end – all figures below are looking up at Christ ascending
6. Represent pilgrims, creating a closer relationship to Christ [would join the rank of apostles by entering the church – has access to sacred narrative of God, prepare pilgrims to see something special inside the church]
7. Crystalized status of church as a sacred space –portal as a transition to a sacred space from a secular world
8. Made from 5 marble slabs, distinct stones – carved separately and assembled together [lintel made from 3 slabs of marble] = spolia of late antiquity [before Christianity], reused of marble tombs to make the portal

and contributed to stiff composition

10. How does the use of spolia contribute to this piece?

• Fits the narrative of Christ’s ascension [literally rising from the tomb, resurrection]
• Use of spolia materialized sacred narrative
• Emphasized theme of death of the cathedral
• Placed lintel as early Christian marble [material of late antiquity - marked triumph of Christianity over Pagan Rome and legitimization of roman Christianity in 11th century France] – historical argument being made within the tympanum

Question 17

Answer 17

Church of Ste. Foy

Conques, France

1050–1110

1. Included in the route to Santiago – a location stop within the pilgrimage map
2. Ste. Foy – known for the beautifying of her vessel, the amount of golds and jewels is evidence that pilgrimage is a source of wealth [a pilgrim would leave a donation to their saints – money used by monks of the church]

Question 18

Answer 18

Last Judgment Tympanum

Church of Ste. Foy, Conques, France

1110

1. Once painted with bright colors for the details to prominent to the viewers
2. Eschatology in action - an illustration of events of the Last Judgement [Left – Heaven, Louis the Pious, present because he founded the church and Right – Hell, surrounded by sinners with guard angels to keep devils out]
3. At the bottom – vertical separation, a confrontation between good and evil [angels and demons, weighting souls of the death – conversation between good and evil]
4. Within the depiction of hell – Satan, seated in the center, with sinners Adam, Eve and Judas – represented familiar iconography for viewers, invoke audience’s emotional response
5. Heaven – peaceful and orderly, illustrated the instruction to go to Heaven [Ste. Foy and Christ, reaching to touch her – presented within the tympanum, exact same throne – represented her direct access to Christ, privilege few with access]
6. Faith, does not look at a person, but like her expensive relic and vessel – invoke a sense of righteousness of the pilgrims, contributing to future salvation of self [reminded the viewers of the authenticity of Faith’s role as a saint, illustrated the final goal of pilgrimage – Faith will speak to Christ on your behalf, an investment in your salvation (more saints on pilgrimage journey will speak for your salvation)]

Question 19

Answer 19

Plan of Cluny III

1088–1130

Cluny, France

Rebuilt under Abbot Hugh

Over the course of the 10th, 11th and 12th century, Cluny built a monastic empire in Western Europe – established a network known as daughter house

1. Monasteries who followed the Benedictine rule as Cluny did and only answer to the main house, in turn, only answer to the Pope
2. Influence spread all over Western Europe – daughter house with the house shared key exemption from local power structures
3. Grew in power, wealth and population – During the late 11th century, Cluny’s Abbot, Abbot Hugh, had the building rebuilt [Cluny III]
4. Massive – Abbot wanted to outdo the Pope himself [Cluny III – Larger than Old Saint Peter, largest church in Western Christendom]
5. Contain 2 Transept with galilee [emphasis on liturgy – the public performance of Christian rituals in church as well as the cloister]
6. The addition of an extra transept with radiating chapels meant more altars in which maximizes and creates more spaces for liturgy and rituals could be celebrated at once
7. The elaboration of liturgy goes hand in hand with the elaboration of the architecture

Question 20

Answer 20

Cluny III abbey church

begun in 1088

Consecrated 1095

Patron: Abbot Hugh

1. most influential monastery in Western Europe [wrecked during the French Revolution]
2. monastery： An isolated place where religious men and women could live together in a community [men and women are separate – monks and nuns] – a place where they can focus on work, prayers and study
3. Meant to self-sufficient buildings [multiple functions within the building, including scriptorium where monks made manuscripts, written and illustrated, from vellum – calf’s skin, thin leather]
4. Lives of monks and nuns, organized by a set of rules written by St. Benedict in the 6th century – basis for European monasticism
5. Monks who established the Cluny in the early 10th century, were Benedictine – initially wanted to reform the Benedictine monasticism – to ensure that all monks abide by this rule uniformly
6. In the year 909, when the land was granted to the monk, owner waived all rights as land owners – questionable only Rome and Pope, gave great freedom for the monks [religious and financial freedom – more independent = more potential for growth]

Question 21

Answer 21

Mission of the Apostles

Fresco

Berzé-la-Ville, France

1109

Patron: Abbot Hugh

1. Private chapel of Abbott Hugh [located 7 miles away from Cluny III]
2. Believed that artist who worked on Cluny III fresco also worked on Abbott Hugh’s private chapel
3. *Christ in an almond-shaped mandorla, surrounded by 2 apostles, handing out the scroll to St. Peter – this composition is called the Mission of the Apostles
4. Based on an episode in the testament where Christ tells his disciples to tell the world about him [the conversion and spreading of Christianity]
5. A reminder of monastic mission [directly came from Christ himself] of monks – monks viewed as apostles to Christ
6. This imagery is an acknowledgement of the authority of Peter and Rome over all other religious institutions - also asserts the relationship between Cluny III and the Pope, remind the audience of the close relationship between the two institutions

Question 22

Answer 22

Monte Cassino

Consecrated 1071, Southern Italy

Rebuilt under: Abbot Desiderius

1. The site of Monte Cassino was founded by Saint Benedict himself – the main source and symbolic origin of Western monasticism
2. Rebuilt during late 11th century by Abbott Desiderius – later become Pope in Rome
3. Destroyed during WWII by the Allies – evidence suggested that it was heavily decorated with Byzantine mosaics – what Byzantine artists were known for
4. Plan inspired by old Christian buildings – Old St. Peter’s
5. Monte Cassino – deliberate copy of old Christian architecture, revived of architectural characteristics of Constantine’s patronage – political statement about its own political and historical roots in Rome

Question 23

Answer 23

View of apse, Sant’Angelo in Formis

1072-1100

Southern Italy.

rebuilt under Abbot Desiderius

A) Nave arcade, made with delicate marble columns – _precious and expensive materia_l, also used in Old St.Peter’s church [strong associated with Rome and Late Antiquity]

1. Emulated architecture of Old St. Peter’s – the main authority in Rome
2. Representation of how a building can refer to multiple buildings and authorities

B) Christ in Majesty and angels, from the apse frescoes of San’t Angelo in Formis

1. Christ in the center, surrounded by 4 creatures, holds open a book and sign of blessing with righ; hand – imagery of Christ’s judgement
2. Abbott Desiderius of Monte Cassino, presenting the church to Christ – how the patronage of buildings was seen as an offering to Christ as a way to find pleasure and salvation – rebuilt buildings because it is an investment of his salvation
3. Similar to Mission of the Apostles – stylistically similar, though both has different composition and subject matter [also painted by Byzantine artist like Monte Cassino and their daughter houses]
4. Demonstrated the connection of Cluny and Monte Cassino/Rome – reference to Monte Cassino is a reference to Rome itself [reminder of that Cluny is under the authority of Rome and their close relationship - distinct characteristics of Cluny, actualized that Rome was the source of political and spiritual authority for Cluny]
5. Demonstrated Byzantine’s importance on Rome’s artistic and political value [Otto II + Theophano vs Mission of the Apostles]

Question 24

Answer 24

Abbot Desiderius offers his church to Christ

Apse fresco

Sant’Angelo in Formis, Italy

ca. 1072-1100

Abbott Desiderius of Monte Cassino, presenting the church to Christ – how the patronage of buildings was seen as an offering to Christ as a way to find pleasure and salvation – rebuilt buildings because it is an investment of his salvation​

Question 25

Answer 25

Abbey of St-Pierre

south portal

Moissac

ca. 1125-1130

• Cluny III – important model for churches across Europe [artistic patronage was a common to articulate in authority]
• Abbey – rebuilt and redecorated to mark its transition into the family of Cluny [bought into the family by Abbott Durandus, died in the late 11th century, Moissac rebuilt after his death]
• Both monastic and pilgrimage - on the route to Santiago, church was visited by many pilgrims
• South Portal of Abbey of St. Pierre, Moissac, France, ca. 1125-1130

1. Aimed for Christian individuals who came from pilgrimages to worship
2. Everything carved
3. Trumeau - pillar that supports the weight of the lintel and tympanum above and divides the portal into two – load bearing
4. Jamb – Side of a door, supporting structure
5. Depiction of Christ’s Second Coming – Christ, center, surrounded by evangelists and 24 Elders– size of figures are determined by their importance based on narrative and religious importance

Question 26

Answer 26

Trumeau of Prophet Jeremiah

Abbey of St-Pierre,

Moissac, France

1125-1130

1. The book of Revelations – text in the new Testament about the Second Coming
2. In the old testament, contains Hebrew prophets who predicted about the apocalypse – seen as configurations of the new testament – believed by Christians that Hebrew prophets provided prophecy that would come true in the new testament
3. Prophet Jeremiah [Trumeau] – figure of Jeremiah, physically supporting the tympanum and the last Judgement
4. Holds a scroll – reference to text, reminding us that he wrote the scripture that came true right him; also looked down at the pilgrims – reminding them of things to come
5. Jeremiah formed the spiritual and scriptural foundation of the Second Coming of Christ but also the physical support for the representation of the Second Coming
6. Material support for the Second Coming – how the function of architectural space can inform its meaning, literally supports the Apocalypse

Question 27

Answer 27

Cloister pier

Marble

Moissac, France

ca. 1100

Piers – representations of the apostles [apostles – spread the word of Christ, monks thought of themselves as apostles]

5. One of the piers, represented Abbott Durandus – the reformer of Moissac and placed the Moissac under Cluny

• Sculpted to perverse his memory as one of the important figures at Moissac
• His appearance at the pier is representing him as one of the Apostles [Abbott Durandus – legitimize Cluniac reform, presents the argument of the religious identity of the institution as a whole and about apostolic significance of their history – Apostolic Identity]

Question 28

Answer 28

Cloister of the Abbey of Saint-Pierre

Moissac. Marble.

ca. 1100

Cloister: A rectangular open space that is bordered on all four sides with covered walkways – reserved for only monks themselves, space where monks study, think, pray, etc. [monastic space]

1. Richly decorated cloister – heavily decorated with sculptures
2. Monks were constantly moving within the cloister – sculptures were made to be viewed with motion, must walk away the sculptures
3. Piers – representations of the apostles [apostles – spread the word of Christ, monks thought of themselves as apostles]
4. As the monks of Moissac walks through the cloister, they physically joins the ranks of the apostles – walks along them
5. One of the piers, represented Abbott Durandus – the reformer of Moissac and placed the Moissac under Cluny

• Sculpted to perverse his memory as one of the important figures at Moissac
• His appearance at the pier is representing him as one of the Apostles [Abbott Durandus – legitimize Cluniac reform, presents the argument of the religious identity of the institution as a whole and about apostolic significance of their history – Apostolic Identity]

Question 29

Answer 29

west portal, Last Judgement

Saint-Lazare, Autun

ca. 1130

sculptor: Gislebertus

1. Depiction of Last Judgement [Size of figures are determined by their importance]
2. Reference with medieval torture – by referring to contemporary references, invoked a more emotional response from audience [Depiction of Hell]
3. Heaven – depiction of the dead, rising above [A cross – reference to Jerusalem + Scallop Shell – reference to Santiago pilgrimage – message for audience = pilgrimage is salvation, can determine your fate in the Last Judgement]
   
   1. Autun – not concerned with narrative and order but concerned with the instant emotional response and impression [visually compelling – distinct aesthetic]
   2. The artist signed the piece “Gislebertus made this” [placed right beneath the feet of Christ, little bit on the Heaven side] – asked to be remember

• Tried to claim salvation, it was his gift to God – he is not a monastic figure, this is all he can to earn God’s salvation
• Illustrated that the individual is reminding the audience that the work of art is an offering and service to God [a spiritual and material act, a form of prayer to God and the church – can earn salvation from God]

Question 30

Answer 30

Detail of west portal

Saint-Lazare, Autun

ca. 1130

sculptor: Gislebertus

1. Autun – not concerned with narrative and order but concerned with the instant emotional response and impression [visually compelling – distinct aesthetic]
2. The artist signed the piece “Gislebertus made this” [placed right beneath the feet of Christ, little bit on the Heaven side] – asked to be remember

• Tried to claim salvation, it was his gift to God – he is not a monastic figure, this is all he can to earn God’s salvation
• Illustrated that the individual is reminding the audience that the work of art is an offering and service to God [a spiritual and material act, a form of prayer to God and the church – can earn salvation from God]

Question 31

Answer 31

Abbey of Fontenay

begun 1139

Fontenay, France

Founded by Bernard of Clairvaux

1. Founded by Bernard of Clarivaux – imposed that all daughter houses must built with the same plan the mother house
2. No radiating chapels – no relics, pilgrimage and small liturgies and square apse [new to churches]
3. In comparison to Cluny III, it is smaller in size because it was made for monastic use and communities – simple liturgies [no ornaments and guest house, but more light = only acceptable ornament to a church – emphasis on a private religious experience]
4. Fortenay – fulfilled the demands of Bernard of Clairvaux’s rules [simple, no ornaments – Unitarian, more emphasis on God, less on contributions and donations – unlike Cluny, glamourous, focused on money and precious relics]

Question 32

Answer 32

Abbey Church, Fontenay

1139-1147

Fontenay, France

Founded by Bernard of Clairvaux

* Cistercian Reform (monaticism), Bernard of Clairvaux

1. Founded by Bernard of Clarivaux – imposed that all daughter houses must built with the same plan the mother house
2. No radiating chapels – no relics, pilgrimage and small liturgies and square apse [new to churches]
3. In comparison to Cluny III, it is smaller in size because it was made for monastic use and communities – simple liturgies [no ornaments and guest house, but more light = only acceptable ornament to a church – emphasis on a private religious experience]
4. Fortenay – fulfilled the demands of Bernard of Clairvaux’s rules [simple, no ornaments – Unitarian, more emphasis on God, less on contributions and donations – unlike Cluny, glamourous, focused on money and precious relics]

Question 33

Answer 33

Hildegard von Bingen

Frontispiece to Scivias

Written 1151–1152,

Illuminated 1165–1180

1. ​Illumination from the Liber Scivias showing Hildegard receiving a vision and dictating to her scribe and secretary
2. Hildegard von Bingen was considered a mystic theologian, and her canonization was contentious — but her visions were more than just imaginative — they were a thoughtful and deliberate redefinition of God’s relationship with mankind.

Question 34

Answer 34

Hildegard von Bingen

The Redeemer, in Scivias

Written 1151–1152,

Illuminated 1165–1180

1. This vision focused on Adam and Christ, where Adam fails to pick a flower representing “the sweet precept of obedience”. In a radical revision of Genesis, instead of Satan tempting Adam with the knowledge of good and evil, this knowledge was a gift from God that Adam ignored. Redemption follows represented by the stars of the patriarchs, the prophets, John the Baptist and finally Christ himself.
2. Hildegard von Bingen was considered a mystic theologian, and her canonization was contentious — but her visions were more than just imaginative — they were a thoughtful and deliberate redefinition of God’s relationship with mankind.

Question 35

Answer 35

Bible of Stephen Harding

Manuscript/parchment

1109

Cîteaux, France

1. the founders of the Cistercian Order
2. He is honoured as a saint in the catholic church

Question 36

Answer 36

Pentecost and the Mission to the Apostles

Church of Sainte-Madeleine (St. Magdalene)

Vézelay, France. 1130

1. Pope Urban II, initially had plans to preach for the second Crusades at the Church of Sainte-Madeleine [however, went to Clermont instead but the church still remained a Crusaders’ establishment from the end of 11th century]
2. The west portal was carved in 1130 after the end of the First Crusades [the tympanum was designed to be a defense of the Crusades as a concept]
3. In the year 1146, Bernard of Clairvaux, preached the 2nd Crusades at this church with this tympanum as the backdrop
4. The tympanum depicts Christ in the center, surrounded by 12 Apostles – Christ, shooting rays at apostles
5. Representation of the Pentecost – refers to a moment in the new testament, when the holy spirit descends on the Apostle to teach them all the foreign languages of the world to preach the word of God over all the world [The Crusades = Apostolic Mission, but with weapons instead of books]
6. Figures within the frame – one with large ears [Panotii], one with heads of dogs [Cynocephali] and pygmies [exceptionally small people]

Question 37

Answer 37

Melisende Psalter cover

Ivory

Made in Jerusalem

1131–1143

Commissioned by Fulk of Jerusalem for Queen Melisende

1. Ivory Book covers, commissioned by Fulk of Jerusalem, King of Jerusalem, for her wife, Queen Melisende [A book of prayer of the Queen]
2. Created by a Crusaders’ workshop [example of the meeting of different artistic backgrounds and cultures within a Crusaders’ state]
3. Queen Melisende, more respected ruler of the two [came from dynastic blood, while the king was married into royalty]
4. Fulk of Jerusalem spent most of his marriage, attempting to earn his wife’s respect and her followers at court [effective head of the state but did not have the title]
5. The book was gifted to Melisende as a way to earn her favour
6. The cover is an integration of Muslim and Byzantine artistic traditions and depicts an allegory of the presence of the Crusaders in the holy land
7. Front Cover – six medallions made with sapphire and rubies, depicting the narrative of King David
8. The artistic and decorative style of the covers were inspired by Byzantine textile (Elephant Textile) and ivory carvings (Pyxis of al-Mughira, Islamic craftsmen)
9. Kings would have these types of objects in their possession as presents or spoils of war; for private consumption, it is a luxury item but still holds religious purpose through its function [Single User]
10. Integration of Islamic craftsmanship, Byzantine ornamental pattern and Western Religious Narrative
11. political statement of the Crusaders’ as a colonizing force of Eastern Christians and Muslim lands

Question 38

Answer 38

Melisende Psalter, Deesis

Illuminated by Basilius

in Jerusalem, 1131–1143

Commissioned by Fulk of Jerusalem for Queen Melisende

A traditional iconic representation of Christ in Majesty or Christ Pantocrator: enthroned, carrying a book, and flanked by the Virgin Mary and St. John the Baptist, and sometimes other saints and angels. Mary and John, and any other figures, are shown facing towards Christ with their hands raised in supplication on behalf of humanity.

Question 39

Answer 39

Capella Palatina (palatine chapel)
Architecture and mosaics
Palermo, Sicily
1130–1140
Commissioned by Roger II of Sicily

1. is the royal chapel of the Norman kings of Sicily
2. Also referred to as a Palace church or Palace chapel it was commissioned to be built upon an older chapel (now the crypt) constructed around 1080.
3. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica.
4. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.

Question 40

Answer 40

Coronation Mantle of Roger II of Sicily
Silk embroidered with gold thread
Palermo, Sicily
1133-1134
Commissioned by Roger II of Sicily

1. even though made for a Christian ruler but full of islamic motifs: camel calligraphic script -> identical to the dome of the rock in Jerusalem
2. power, lion -> sybolism; camel -> conquered

Question 41

Answer 41

West façade of abbey church of Saint-Denis

1135-1140, Paris (France)

Patron: Abbot Suger

1. Figures – Merovingian kings, dynasty that founded Saint-Denis and was buried in the church [ancestors of the Capetian dynasty – 12th century kings of France]
2. Also depicts figures from the Old Testaments kings from the Hebrew bible - strong emphasis on the theme of kingship
   
   • a demonstration that the Old Testament was fulfilled in the New Testament
   • This is an illustration of secular and royal typology – connects Old Testament kings to contemporary kings [the Capetian Dynasty]
   • Portal were utilized to the importance of kings and had a role within divine hierarchy – emphasized the identity of the church as a royal abbey and Suger’ interest in promoting the monarchy

Question 42

Answer 42

Abbey church of Saint-Denis, east end

1140-1144
Paris, France

Patron: Abbot Suger

1. Consist of an ambulatory, series of radiating chapels (with its own individual altar)
2. Known for its colorful and bright interior space – the amount of light within the space and the stained glass windows

•  Differ from Romanesque architecture – instead of solid walls, it was replaced with stained glass window
•  The division of ambulatory and the radiating chapels have been unified into one continuous space

3. Why so many windows? What’s the point of shiny space and objects? – the incorporation of stained glass windows elevates the space because looking at certain ornaments in a church can create the illusion of heavenly

• Inspired by Book of Ezekiel, in which described heaven as being made from jewels – Suger implied that Saint Denis is heaven, made from the same materials
• Ornaments – elevates vision in which produced a spiritual experience and if done properly, can create a vision of God
• Anagoge/Anagogical Experience – the idea of looking at a certain object can elevate one’s vision and spirituality

Question 43

Answer 43

Eleanor Vase
6-7th-century rock crystal from Iran,
12th-century French metalwork
Treasury of Saint-Denis, Paris, France
Patron: Abbot Suger

 Muslim cultural heritage as a source of inspiration

 The scripture “As a bride…” – given to her by grandfather who received it from Mitadolus [Muslim ruler of Zaragoza], eventually to her husband and then Abbott Suger

 Created value by the lineage’s possession of the object
 Illustrated Abbott Suger’(leader of monks and monastery, diplomat and political figure) intimate relationship with the monarchy by associating himself with the object

– interested in associating old with contemporary

Question 44

Answer 44

Tree of Jesse window
Stained glass
ca. 1140–1144
Saint-Denis, Paris, France

1. Specific iconography – depicts the ancestors of Christ according to the medieval understanding of the Old Testament – found in the Hebrew

 According to Christian beliefs that Christ is the direct descendant of King David

 Began with King David’s father, Jesse [notion of the family tree]

 Bottom – Jesse, from his chest raises a tree = the beginning of family tree [all members presented with 12th century regalia – implication of the Capetian Dynasty]

 Presence of Virgin Mary = important because Christ can only descended from David through the Virgin

 Becomes a decisive figure in Christ’s reincarnation – holds a significant position in the lineage hierarchy

 The purpose of the Tree Window is draw comparison of Christ as a type of king, similar to earthly king

 Important as it creates a connection between contemporary monarchy and the church – implied that the Capetian has an intimate relationship to Christ, are a part of his lineage [the emphasis on sacred kingship in Gothic Art]

2. Depicted Abbott Suger next to Jesse – donating the window of the Tree of Jesse [looking up at Christ – whom the church is dedicated to, reminder of its spiritual function]

 In Saint-Denis, there are 4 representations and 7 scriptures of Abbott Suger – multiple reminders of its patron

 Reminder of Suger’s interest in self-promotion through the use repetitive signature – illustrated that the church was about as much Suger as much it was about the monarchy [knew that Saint-Denis was an innovation of Gothic Art]

3. Saint Denis = a religious and political statement to articulate an innovation in spiritual experience and promotion of the individual – Gothic Art and Architecture is combination of political goals and spiritual aspirations

 Considered the start of Gothic Art and Architecture – upon its important consecration, multiple bishops and monks began imitating Saint-Denis in their region

Question 45

Answer 45

Cathedral of Notre-Dame (Our Lady)

west façade,

ca. 1134-1220
Chartres, France

 Notre-Dame = “Our Lady”, dedicated to the Virgin Mary – prominent figure in Gothic Art, most churches in the 12th century were dedicated to the Virgin

 Significant church – believed to hold the Virgin’s relic, the tunic she wore at the birth of Christ [Tunic of Virgin]

 Due to the relic, attracted many pilgrimages

 _Tunic survived the fire of 1140 – sign that the Virgin set the fire herself, wanted to her relics to held at a better cathedra_l [in the 13th century, a new cathedral was built]

Question 46

Answer 46

Royal Portal, west façade
Chartres Cathedral
ca. 1140-1150

1. Covered in sculptures – known for calm and logical organization of all sculptures and its symmetry – highly legible, easy to interpret meaning
2. Central Portal – Large figure of Christ in almond size mandala – most important figure in the composition [hieratic scaling]

 Surrounded by 4 evangelists and apostles in the bottom row – apocalyptic depiction of the Second Coming

3. What are the similarities between Chartres Royal Portal and Saint Lazare?

 Difference between Romanesque and Gothic: Romanesque – chaotic and disorganized while Gothic is more orderly and organized

 Royal Portal – deeper relief, greater modeling of sculptures [more illusionism] while Saint Lazare is more two dimensional

 Both has hierarchic scale and depicts the same imagery/eschatology [Last Judgement] – both co- existed at the same period

Question 47

Answer 47

Right bay, “Virgin Portal”

from the Royal Portal
Chartres Cathedral,

ca. 1140-1150

 Depicted in a prominent position [throne of wisdom] – during this period, the number of cult dedicated to the Virgin significantly grew in numbers

 Gained an important status as a religious figure – has the ability to intervene on one’s behalf, could argue your case on the court of Christ = greater chance of salvation

 Transitioned from queen of heaven to mother of Christ
 Throne of Wisdom composition gained popularity during the 12th century

 Direct reference – depiction of the birth of Christ, Mary’s Tunic in the church

 Second register – depicts the presentation in the temple [an episode in the bible when Christ is bought to church and is recognized by a Hebrew priest as a messiah]

 Imagery of Mary presenting Christ to the priest and being held over an altar

 Depiction of childhood of Christ – foreshadow his sacrifice at the crucifixion of Christ [bread and wine on the alter – transformed in the body and blood of Christ]

 The Virgin’s lap become an altar for the sacrifice of Christ – reminder of Virgin as a type of Christian church

Question 48

Answer 48

jamb figures from the Royal Portal
Chartres Cathedral
ca. 1140-1150

 Known for how the figures rigidly conform to their individual space – stretched out appearance

 Expressive and inviting figures – engaging with the viewers by looking down on them, creates sculptural conversation with the façade

 Depictions of biblical kings and queens – representation as the literal foundation of the narratives of the New Testament

 Christian view of typological history expressed through iconography, symbolism and materiality of the building

Question 49

Answer 49

Notre Dame de la Belle Verrière
Stained glass,
Chartres Cathedral, France
1170 and 1225

 Sainted glass as a medium – drove innovation of Gothic Architecture, inclusion of stained glass within buildings

 The central panel [Virgin Mary, throne of wisdom] – survived the fire and has been incorporated with 13th century additions [new panel – structured around original composition to enhance it and display it]

 The stained glass from the first cathedral hold significance because it holds the sacred status of a relic – the material of the church become a relic [similar to Mary’s tunic]

 Blurred lines between the importance of spolia and relic