Download - Chapter16
![Page 1: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/1.jpg)
1
Chapter 16Early Medieval Europe
Gardner’s Art Through the Ages, 13e
![Page 2: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/2.jpg)
2
Early Medieval Sites in Europe
![Page 3: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/3.jpg)
3
Goals
• Understand the distinctive artistic traditions of the European peoples after the fall of the Roman Empire.
• Understand the chronological placement of this period following the fall of the western Roman Empire in the fourth century but preceding the Romanesque period of the 11th century.
• Know the different types of art, media, and their respective cultures.
• Appreciate the role of Christian monks in preserving and creating art
• Trace influences of medieval art styles.• Examine the secular and religious architectural forms in the early Middle Ages.
![Page 4: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/4.jpg)
4
Northern European Art
• Understand the artistic, technical and stylistic traditions of the northern European peoples.
• Know the different types of art and the respective cultures associated with the Merovingians, Anglo-Saxons, and Vikings.
• Examine the artistic traditions applied to a variety of media, such as wood, stone, and metal.
![Page 5: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/5.jpg)
5
Merovingian and Saxon Art
• Understand the artistic, technical and stylistic traditions.
• Know the different types of art and the respective cultures associated with the Merovingians and Saxons.
![Page 6: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/6.jpg)
6
Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye.
![Page 7: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/7.jpg)
7
Figure 16-3 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2” long. British Museum, London.
![Page 8: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/8.jpg)
8
Interlaced Animal Style
• Examine the European artistic traditions applied to a variety of media, such as wood, stone, and metal.
• Notice the imagery includes intertwined ribbon-like designs called interlacing as well as abstract animal imagery. These design features reflect the cultures of pre-Christian Northern Europe.
![Page 9: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/9.jpg)
9
Figure 16-4 Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum of National Antiquities, Oslo.
![Page 10: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/10.jpg)
10
Figure 16-5 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070.
![Page 11: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/11.jpg)
11
Hiberno-Saxon Art (6th to 10th centuries)
• Understand the Saxon artistic influence in the British Isles.
• Understand the early influence of Christianity and the ways in which indigenous art forms serve the cause of Christianity.
• Describe the specific art elements and principles of design applied to the illuminated manuscripts, Celtic crosses and other objects.
• Observe the continuation of interlacing and abstract animal imagery. Why did art used for Christian purposes retain these qualities?
![Page 12: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/12.jpg)
12
Figure 16-6 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin.
![Page 13: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/13.jpg)
13
Figure 16-1 Cross-inscribed carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London.
![Page 14: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/14.jpg)
14
Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London.
![Page 15: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/15.jpg)
15
Figure 16-8 Chi-rho-iota (XPI) page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. Trinity College Library, Dublin.
![Page 16: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/16.jpg)
Medieval Christian Monks
• Understand the role of Christian monks in preserving and creating illuminated manuscripts in scriptoria
• Examine the layout of a medieval monastery
16
![Page 17: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/17.jpg)
Figure 16-19 Schematic plan for a monastery at Saint Gall, Switzerland, ca. 819. Red ink on parchment, 2’ 4” X 3’ 8 1/8”. Stiftsbibliothek, Saint Gall.
17
![Page 18: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/18.jpg)
18
Celtic Crosses
• Describe the specific art elements and principles of design applied to the Celtic crosses.
![Page 19: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/19.jpg)
19
Figure 16-9 High Cross of Muiredach (east face), Monasterboice, Ireland, 923. Sandstone, 18’ high.
![Page 20: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/20.jpg)
20
Carolingian Art (9th century – present day France and
Germany)• Understand the political and religious influences on art and architecture during the Carolingian period.
• Understand the ‘revival of learning’ and the art of the book as a result of Charlemagne’s interests.
• Examine the secular and religious architectural forms in the Carolingian period.
![Page 21: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/21.jpg)
21
Figure 16-12 Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 1/2” high. Louvre, Paris.
![Page 22: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/22.jpg)
22
The Carolingian Renovation
• Observe how Charlemagne’s empire revived Roman art and architectural forms. Why did he desire to do this?
• Understand the ‘revival of learning’ and the art of the book.
![Page 23: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/23.jpg)
23
Figure 16-13 Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca. 800–810. Ink and tempera on vellum, 1’ 3/4” X 10”. Schatzkammer, Kunsthistorisches Museum, Vienna.
![Page 24: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/24.jpg)
24
Figure 16-14 Saint Matthew, folio 18 verso of the Ebbo Gospels (Gospel Book of Archbishop Ebbo of Reims), from Hautvillers (near Reims), France, ca. 816–835. Ink and tempera on vellum, 10 1/4” X 8 3/4”. Bibliothèque Municipale, Épernay.
![Page 25: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/25.jpg)
25
Art of Charlemagne’s Court
• Examine the gold and jeweled secular and religious court art under Charlemagne and his successors.
![Page 26: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/26.jpg)
26
Figure 16-16 Crucifixion, front cover of the Lindau Gospels, from Saint Gall, Switzerland, ca. 870. Gold, precious stones, and pearls, 1’ 1 3/8” X 10 3/8”. Pierpont Morgan Library, New York.
![Page 27: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/27.jpg)
27
Carolingian Architecture
• Examine the secular and religious architectural forms in the Carolingian period.
![Page 28: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/28.jpg)
Figure 16-17 Restored plan of the Palatine Chapel of Charlemagne, Aachen, Germany, 792-805.
28
![Page 29: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/29.jpg)
29
Figure 16-18 Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805.
![Page 30: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/30.jpg)
30
Figure 16-20 Westwork of the abbey church, Corvey, Germany, 873–885.
![Page 31: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/31.jpg)
31
Ottonian Art (10th century Germany)
• Examine the architecture associated with the Ottonians, its formal origins and its later influence.
• Understand the architectural and free standing sculptural traditions of the Ottonians.
• Compare and contrast Ottonian and Carolingian art
• Examine the styles of the Ottonian illuminated manuscripts.
![Page 32: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/32.jpg)
32
Architecture of the Ottonians
• Examine the architecture, its formal origins and its later influence.
![Page 33: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/33.jpg)
33
Figure 16-21 Nave of the church of Saint Cyriakus, Gernrode, Germany, 961–973.
![Page 34: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/34.jpg)
34
Figure 16-22 Saint Michael’s, Hildesheim, Germany, 1001–1031.
![Page 35: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/35.jpg)
35
Figure 16-23 Longitudinal section (top) and plan (bottom) of the abbey church of Saint Michael’s, Hildesheim, Germany, 1001–1031.
![Page 36: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/36.jpg)
36
Ottonian Sculpture
• Understand the architectural sculpture associated with St. Michael’s at Hildesheim, Germany.
• Examine the free standing sculptural traditions of the Ottonians.
![Page 37: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/37.jpg)
37
Figure 16-24 Doors with relief panels (Genesis, left door; life of Christ, right door), commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, 1015. Bronze, 16’ 6” high. Dom-Museum, Hildesheim.
![Page 38: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/38.jpg)
38
Figure 16-25 Column with reliefs illustrating the life of Christ, commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, ca. 1015–1022. Bronze, 12’ 6” tall. Dom-Museum, Hildesheim.
![Page 39: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/39.jpg)
39
Figure 16-26 Crucifix commissioned by Archbishop Gero for Cologne Cathedral, Germany, ca. 970. Painted wood, height of figure 6’ 2”. Cathedral, Cologne.
![Page 40: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/40.jpg)
40
Ottonian Illuminated Manuscripts
• Examine the appearance of the Ottonian illuminated manuscripts.
• Notice the golden backgrounds and linear figural styles in Ottonian illuminated manuscripts --- Ottonian leaders developed significant contacts with the Byzantine empire.
![Page 41: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/41.jpg)
41
Figure 16-28 Annunciation to the Shepherds, folio in the Lectionary of Henry II, from Reichenau, Germany, 1002–1014. Tempera on vellum, approx. 1’ 5” X 1’ 1”. Bayerische Staatsbibliothek, Munich.
![Page 42: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/42.jpg)
42
Figure 16-29 Otto III enthroned, folio 24 recto of the Gospel Book of Otto III, from Reichenau, Germany, 997–1000. Tempera on vellum, 1’ 1” x 9 3/8”. Bayerische Staatsbibliothek, Munich.
![Page 43: Chapter16](https://reader037.vdocument.in/reader037/viewer/2022103115/55697ae0d8b42a32068b4bca/html5/thumbnails/43.jpg)
43
Discussion Questions
In what ways did medieval European art and architecture depart from classical Roman art and architecture? Did any of the civilizations retain characteristics of Roman art and architecture? Explain.
Compare the three major manuscript styles that developed in the Middle Ages.
What previous styles of art influenced medieval European art?