PPT6_ BYZANTINE _ EARLY_MEDIEVAL_ WARRIOR _ LORD _ HEBERNO _ SAXON _ CAROLINGIAN _ OTTONIAN _ ROMANESQUE _ HUEZO

1. PPT6_BYZANTINE_EARLY_MEDIEVAL_WARRIOR_LORD_HEBERNO_SAXON_CAROLINGIAN_OTTONIAN_ROMANESQUE_HUEZOPPT6_BYZANTINE_EARLY_MEDIEVAL_WARRIOR_LORD_HEBERNO_SAXON_CAROLINGIAN_OTTONIAN_ROMANESQUE_HUEZO

2. BYZANTINE ART • Architecture: central and quincunx plan churches • Mysterious, irrational, and decorative • Columns with basket capitals • Mosaics with lots of gold • Stylized forms: large eye, long thin fingers and noses • Central, frontal, symmetrical • Figures lack mass and have down-pointing feet • Hieratic (representations or methods are fixed by or as if by religious tradition) scale • Flat, linear; no shadows, no landscape, no background, little modeling • Isocephalic-heads at same level

4. Cathedral of San Marco(Venice, Italy) • Byzantine and local artists create mosaics over centuries • Built for St. Mark’s relics • Doge Domenico Contarini • Begun 1063 • Cruciform plan with central dome over the crossing and four smaller domes over the arms

6. Lamentation Over the Dead Christ • Mural in St. Pantaleimon, Nerezi, Macedonia • 1164 C.E. • Emperors lifted ban on religious images • For more emotion added Mary and John in a natural setting • Represents intense grief

8. Three Angels(Old Testament Trinity) • Andrei Rublyev • Tempera on wood 4’ 8” x 3’ 9” • ATP 1410 C.E. • Russian icon painting - strong patterns, firm lines, & intense contrast colors so worshipers could see in candle light and incense • Lines contrast demeanor • Same figures, different colors

9. EARLY MEDIEVAL • ATP 500-1000 • Represnts a fusion of Christianity, the Greco-Roman heritage, and cultures of the non-Roman peoples

10. ART OF THE WARRIOR LORDS • Interlace patterns • Imaginary animals • Appears on small portable objects (manuports), usually with a practical purpose • Most likely large artworks did not survive war rather than were not made

12. Purse Cover from Sutton Hoo ship burial • ATP 625 C.E. • Gold, glass, & enamel cloisonné w/ garnets and emeralds 7½” • Cloisonné- soldered metal strips (cloisons) edge up to metal background, filled w/stones, glass, or glass paste • Believed to be funeral ship of Lord Scyld (from Beowulf) • Part of medieval tradition of burying great lords w/ rich furnishings

14. Animal-Head Post • From Oseberg, Norway ship burial for two women • ATP 825 • Wood about 5” high • Animal form & lace pattern- fundamental motifs from Northern Frontier of former Roman Empire warrior lords • Highlights intricate Viking carving ability

15. HIBERNO SAXON(Ireland, England) • Distinctive illuminated manuscripts (hand written books containing books of the Bible and other Christian writings) • Swirling animal images mixed with Christian ideas • High crosses between 8th and 10th centuries exceptional in mass and scale • Corsses were freestanding and unattached to any structural fabric

17. Cross and Carpet Page of Lindisfarne Gospels • From Northumbria, England • ATP 698-721 C.E. • Tempera on Vellum 1’ 1½” x 9¼” • Cobination of Christian images and animal interlace style • Eadfrith, Bishop of Lindisfarne • For God and St. Cuthbert who’s relics were recently deposited in the church

19. Chi-rho-iota(Book of Kells) • Probably from Iona, Scotland • Owned by Kells monastery in southern Ireland • Late 8th or early 9th century • Tempera on vellum 1’ 1” x 9½” • Opening of Matthew’s Gospel • XPI in Greek letters

21. St. Matthew(Lindisfarne Gospels) • Northumbria, England • ATP 698-721 C.E. • Tempera on vellum 1’ 1½” x 9¼” • Eadfrith, Bishop of Lindisfarne • Follows tradition of Mediterranean manuscript illumination

23. High Cross or Muiredach • Monasterboice, Ireland • Sandstone about 18’ high • 923 C.E • For burial of Abbot Muiredach who headed on of oldest monastaries in Ireland • Freestanding high Celtic cross

24. CAROLINGIAN ART • Evidence of classical Illusionism: modeling, landscape background, attempts at perspective • Expressionism: energetic lines, emphasis on expression of inner emotional state

26. St. Matthew(Ebbo Gospels) • From Hautvillers (near Reims), France • ATP 816-835 C.E. • Ink and Tempera on vellum 10¼” x 8¾” • Gospel Book of Archbishop Ebbo of Reims – made for him • Manuscript illuminator with energy that amounts to frenzy

28. Crucifixionon front cover of Lindau Gospels • Saint Gall, Switzerland • ATP 870 C.E. • Gold, precious stones, and pearls 1’ 1 3/8” x 10 3/8” • Example of Carolingian book covers • Made in workshop of Charles the Bald’s court • Delicate metal relief in repoussé • Statuesque and open eyed – less real portrayal

30. Palatine Chapel of Charlemagne • Aachen, Germany • ATP 792-805 C.E. • Built under Charlemagne • Carolingian conversion of Byzantine building techniques-foreshadows Romanesque • resembles San Vitale in Ravenna, Italy • Geometric clarity

31. OTTONIAN ART • Stylized figures with big eyes • Completely linear and flat • Hieratic scale • Composition: central, frontal, symmetrical • Isocephalic

33. Abbey Church of St. Pantaleon • Cologne, Germany • ATP 966-980 C.E. • Begun by Archbishop Bruno • Empress Theophanu expanded the church to include a crypt

35. St. Michael’s Doors with Relief Panels • Hildesheim, Germany • 1015 C.E. • Commissioned by Bishop Bernward • Bronze 16’ 6” high • Left door: Genesis right door: Life of Christ • Each cast separately with the figural sculpture using wax casting

37. Crucifix for Cologne Cathedral • Commisioned by Archbishop Gero • ATP 970 C.E. • Painted carved wood 6’ 2” • Cologne, Germany • Example of revival of monumental sculpture • Reliqaury-shrine for sacred relics • More human and closer to Byzantine than Early Christian • Powerful intense agony portrayed

38. ROMANESQUE Sculpture • Attached to churches, completely dependent on the architecture • Stylized, elongated Architecture • Use of Roman round arch and barrel vault • Larger churches built to accommodate pilgrimages: second aisle, ambulatory, radiating chapels • Stone barrel vaults replace flammable wooden roofs, cause walls to be thicker, w/ smaller windows so darker

40. St. Sernin Cathedral • Toulouse, France • ATP 1070-1120 C.E. • Counts of Toulouse had church built for Saint Saturninus • Geometrically precise and crisply rational • Lengthened nave, doubled the side aisles, and added a transept, ambulatory, and radiating chapels for pilgrimages • Barrel vaults

42. St. Ambrogio Cathedral • Milan, Italy • ATP late 11th, early 12th century • Built in Honor of Milan’s first bishop St. Ambrose • First instances of rib vaulting

44. Saint Etienne Cathedral • Caen, France • Begun 1067 C.E. • Begun by William of Normandy (William the Conqueror) • Sexpartite vaulting-ribs creating six sections • Very high vaults for clerestory

46. Durham Cathedral • Durham, England • Begun ATP 1093 C.E. • William of Normandy’s conquest shanges the English style • Patterned ribs on naive’s groin vaults • Quadrant arches (curves extend ¼ circle’s circumference in tribune • Quadrangular ashlar blocks carved by corps of expert masons for walls

48. Pisa Cathedral Complex • Pisa, Italy • Cathedral 1063 C.E., baptistery 1153 C.E., campanile 1174 C.E. • Coherent group of 3 Romanesque buildings • Marble incrustations-wall decoration of bright panels of different colors, as in Pantheon’s interior • Pisans wanted it to be a glory to God and bring credit to the city

50. Christ in Majesty South portal of St. Pierre Cathedral • Moisac, France • ATP 1115-1135 C.E. • Record the second coming of Christ as King and Judge • Tympanum (semicircular lunnette) above door • Frieze relief