AP

Unit 6 Early Medieval Europe

1 Early Medieval Sites in Europe

2 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 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 styles. • Examine the secular and religious architectural forms in the early .

3 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 . • Examine the artistic traditions applied to a variety of media, such as wood, stone, and metal.

4 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.

5 Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in , with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye. 6 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. , London.

7 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.

8 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. 9 Figure 16-5 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070.

10 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?

11 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. 12 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. 13 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.

14 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. 15 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 Celtic Crosses

• Describe the specific art elements and principles of design applied to the Celtic crosses.

17 Figure 16-9 High Cross of Muiredach (east face), Monasterboice, Ireland, 923. Sandstone, 18’ high.

18 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 ’s interests. • Examine the secular and religious architectural forms in the Carolingian period.

19 Figure 16-12 Equestrian portrait of Charlemagne or , from , France, ninth century. Bronze, originally gilt, 9 1/2” high. , Paris.

20 The Carolingian Renovation

• Observe how Charlemagne’s empire revived and architectural forms. Why did he desire to do this? • Understand the ‘revival of learning’ and the art of the book.

21 Figure 16-13 Saint Matthew, folio 15 recto of the Coronation Gospels ( of Charlemagne), from , Germany, ca. 800– 810. Ink and tempera on vellum, 1’ 3/4” X 10”. Schatzkammer, Kunsthistorisches Museum, Vienna. 22 Figure 16-14 Saint Matthew, folio 18 verso of the Gospels (Gospel Book of Archbishop Ebbo of ), from Hautvillers (near Reims), France, ca. 816–835. Ink and tempera on vellum, 10 1/4” X 8 3/4”. Bibliothèque Municipale, Épernay.

23 Art of Charlemagne’s Court

• Examine the gold and jeweled secular and religious court art under Charlemagne and his successors.

24 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. 25 Carolingian Architecture

• Examine the secular and religious architectural forms in the Carolingian period.

26 Figure 16-17 Restored plan of the Palatine Chapel of Charlemagne, Aachen, Germany, 792-805.

27 Figure 16-18 Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805.

28 Figure 16-20 Westwork of the abbey church, Corvey, Germany, 873–885.

29 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.

30 (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.

31 Architecture of the Ottonians

• Examine the architecture, its formal origins and its later influence.

32 Figure 16-21 Nave of the church of Saint Cyriakus, Gernrode, Germany, 961–973.

33 Figure 16-22 Saint Michael’s, Hildesheim, Germany, 1001–1031.

34 Figure 16-23 Longitudinal section (top) and plan (bottom) of the abbey church of Saint Michael’s, Hildesheim, Germany, 1001–1031. 35 Ottonian

• Understand the architectural sculpture associated with St. Michael’s at Hildesheim, Germany. • Examine the free standing sculptural traditions of the Ottonians.

36 Figure 16-24 Doors with 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.

37 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.

38 Figure 16-26 Crucifix commissioned by Archbishop Gero for Cathedral, Germany, ca. 970. Painted wood, height of figure 6’ 2”. Cathedral, Cologne.

39 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 .

40 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. 41 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. 42 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?

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