Scandinavian KingsMiddle Ages includeds:•Art of the Warrior Lords•Hiberno-Saxon Art•Carolingian Art•Ottonian Art

Scandinavian KingsArt of the Warrior Lords

Tribes from Asia and E. Cent Europe settle mix and keep pushing each other west

Frequent WarringMixing of Aesthetics

400-600 Visigogths, Ostrogoths, Vandals, Lombards, Franks, Anglo-Saxons, and Celts

Small art, ornamental, migratory, easily transportable

Scandinavian KingsHiberno-Saxon Art

Brittain and Ireland from 700-800

Hiberno= IrelandSaxon= England

Aesthetically similar to Warrior Lords art

Differs in use of Christian Symbolism

432 St. Patrick- missionary from Rome Established Church in IrelandSpread Christianity through isles

Scandinavian KingsCarolingian Art

800 Charlemagne- King of FranksRevival of glory of Roman Empire in the time of Constantine

Art was the vehicle for the revival

Carolingian= Carolus Magnus- Latin form of his name

Books, manuscripts, sculpture, architecture, mosaic, etc.Schools,

Scandinavian KingsOttonian Art

Chaotic time for Western EuropeVikings raided the northFranks, Saxons, and Lombard vied for control

Church was disorganized and corrupt

Order was restored within a line of Saxon Kings known as the Ottonians,

Admired Charlemagne and each Otto dreamed of New Christian Empire.

8-1 Pectoral w/scenes from Scythian Life(Greek Craft done for Scythians 4th cent

16-1 Frankish Ornaments, 6h and 7th cent. Looped fibula, with silver filagree, b. round fibula, with cloisonne and stone inlay.

16-2 Purse cover from Sutton Hoo Ship Burial, Suffolk England

8-4 Prow of the Oseburg ship 9th cent Oslo.

8-4 Prow of the Oseburg ship 6th cent Oslo.

16-3 Animal-head pose from Oseberg burial ship, wood

16-4 Wood carved ornament (porch of stave church, Urnes Norway 11th cent.

8-7 Tara Brooch, Ireland, 8th cent BronzeW/ overlay of gold filigree and glass and Amber settings.

16-6 Ornamental Page from the Book of Lindesfarne, from Northumberland, England, 7th cent.

16-7 St. Matthew, from the book of Lindesfarne, Northumberland, England 7th cent.

8-9 The scribe Ezra, Rewriting the Sacred Records, Codex of Amiatinus, Jarrow, 8th cent.

16-8 Cats and Mice with Host, detail of figure Rho Iota page, Book of Matthew, Chapter I Verse 18 from the Book of Kells, probably from Iona, Scotland. Late 8th cent. Oxgall inks on vellum

Lavish illumination of letters, one of the best examplesSymbolizes resurrection & incarnationThe animals represent the incarnation, while the angels represent the resurrectionExtremely symbolic and visual, the decorations go even further than just letters & imagesCarpet page: a page only for decorationBook of Kells = greatest achievement in Hiberno-Saxon artNamed after monastery in southern Ireland that owned itThis page opens account of Jesus in Gospels of Saint MatthewInitial letters of Christ in Greek (XPI – chi-rho-iota), nearly all pageTwo words – autem abbreviated as h and generation lower rightMeans: “Now this is how the birth of Christ came about”Extraordinarily intricate abstract designBut not entirely abstract: a lot of human and animal forms

16-5

8-10 St. Matthew, from the book of Lindesfarne, Northumberland, England 7th cent.

16-9 High Cross of Muiredach Monasterboice, County Louth, Ireland 923

Christian Spain

Christian Spain

Spanish Monk, Beatus- Abbot of San Martin at Liebana, wrote the commentary on the ApocalypseIt was widely copied-this is one of the copies

Composite of interior and exterior views of of a medieval scriptorium

Note the Islamic style glaze tilesInterior ladders, elegant windows with horseshoe arches

Image denotes the Scribe Senior and the Painter Emeterius

One monk uses shears to cut parchment

Christian Spain

Langobard Italy

Carolingian

16-12 St. Matthew, from the Coronation book of Charlemagne, 800-810

16-13 St. Matthew, fromEbbo Gospels, Gospel Book of Archbishopp Ebbo of Reims, Hautvilliers (near Reims) France. 816-835

16-14 Psalm 150, from the Utrecht Psalter, from Hautvilliers France, 830

Christ in Majesty, 4 Evangelists, and Scenes from the Life of Christ, Cover of the Codex Aureu of St. Emmeram 870

Master Wolvinus, detail of the Paliotto (golden altar) Sant Ambrogio, Milan 9th cent

Charlemagne impassioned by learning: high value placed on books, on scholarships Enormous resources into book makingLike piece of jewelleryConflict between new Christian ways of representation with Classical ways of representation (ex.: stiff Christ, little figures moving & twisting)Gold and gems not only glorified Word of God but also evoked the heavenly JerusalemOne of most luxuriousYouthful Christ in early Christian traditionOpened-eye figure in repousséReminds the beardless unsuffering ChristFour angels personification of moon and sun aboveBottom: crouching Saint John and Virgin Mary with 2 uninditifiedIn contrast, these display vivacity and nervous energy of Utrech Psalter figuresThis only shows diversity of early medieval art in EuropeBut here, translated style of Mediterranean prevails: Frankish “emperors of Rome”

Mounted Warrior with Captive from a gold vessel from the Nagy-szent- miklos treasure hoard, at Sinicolaul, Romania 9th cent.

8-18 Iron age house on foundations excavated at Ezinge, Holland

8-20 Interior of the Palatine Chapel of Charlemagne 792-805

Build in Aachen, where Charles had his courtReminds of San Vitale: octagonale plan, outer/inner areasBut more symmetricalAnalogy to Justinian,who was the last great Roman emperor, very justCharles seem to say he is in line with Roman emperors, but also that HE is the emperor nowIn the Byzantine church, there was a mystical of the light, complex design and dark VS. light everywhereThe Palatine Church is clearly organized, suggests clear powerful classical tradition not mystical, compartamised, has archesPorphyry (purple marble) columns imported from RavennaSimpler planForeshadows Romanesque art by expressing robust strength and clear structural articulationAlso, exterior with 2 cylindrical towersRoyal chapelHis son crowned there when he succeeded his father

16-17 Interior of the Palatine Chapel of Charlemagne 792-805

Build in Aachen, where Charles had his courtReminds of San Vitale: octagonale plan, outer/inner areasBut more symmetricalAnalogy to Justinian, who was the last great Roman emperor, very justCharles seem to say he is in line with Roman emperors, but also that HE is the emperor nowIn the Byzantine church, there was a mystical of the light, complex design and dark VS. light everywhereThe Palatine Church is clearly organized, suggests clear powerful classical tradition not mystical, compartamised, has archesPorphyry (purple marble) columns imported from RavennaSimpler planForeshadows Romanesque art by expressing robust strength and clear structural articulationAlso, exterior with 2 cylindrical towersRoyal chapelHis son crowned there when he succeeded his father

16-16 Restored plan of the Palatine Chapel of Charlemagne 792-805

16-18 Torhale Gatehouse, Lorsch West Germany 800

8-22 Monastery, St. Gall Switzerland 819

8-22 Monastery, St. Gall Switzerland 819

8-23 Monastery church of St. Requier, Centula France 800

Ottonian Period

16-22 Abby Church of St. Michael, Hildesheim, West Germany 1001-131

16-23 Abby Church of St. Michael, Hildesheim, West Germany 1001-131

8-26 Abby Church of St. Michael, Hildesheim, West Germany 1001-131

Doors of Bishop Bernward, Abby Church of St. Michael, Hildesheim, Germany, 1015, Bronze

8-27 Adam and Eve Reproached by the Lord, from bronze doors commissioned by Bishop BernwardFor St. Michael’s 1015

16 feet high8 panels on each side (each side = 1 door)Left = old testament, right = new testamentOld testament stories lead to events of the newEach door casted in 1 cast of bronzeIncredible engineering metal craftRead from top down (left) and bottom up (right)Way organized interesting: each OT scene connected to NT scene, OT/NT

ConcordanceEx.: panel depicting Fall of Adam & Eve next to panel of Crucifixion; panel

Eve nursing infant Cain next to Mary with Christ Child in her lapProbably inspired by Santa SabinaOn church of Saint Michael’s, in GermanyCan be compared to book covers, although more public. But still, only

Monks could pass through them. (From cloister to church)Composition of many scenes on the door derive from Carolingian

manuscript illuminationsExpressive strength that brings to mind illustration of Utrecht Psalter

8-28 Doubting Thomas c.1000 Ivory, Staatliche Museen, Berlin

16-28 The Annunciation to the Shepherds, from the Lectionary of Henry II 1002-1014

16-29 Otto III Enthroned, Receiving the Homage of Four Parts of the Empire (nobility and clergy) from the Gospel Book of Otto III 997-1000

6 feet tallCommissioned by GeroNot titled after artist, but after commissionerArtist more like a craftsman in Middle AgesHold in the back of head for the hostHost: what they eat during service, “body of the Christ”Heavy weight, swollen belly, fleshStriking image of suffering deathSorrow & griefArt more expressive & supposed to move you emotionally rather then

intellectually, compared to CarolingianNothing to do with imperial power, rather to teach, help believer realise the

event & understand it’s importanceBest example of the revival of interest in monumental sculptureCarved in oak, then painted and gildedNow more akin to representations of Byzantine suffering ChristBut emotional power of the Ottonian representation greater stillAll-too-human martyrBlood on his forehead from crown of thornEyelids closed, face in painBody sags under it’s own weightMuscles stretch to the limitHalo foretells possibleResurrection, but all we see is painMost powerful characterization of intense agony of early Middle Ages

1. What factors do the authors believe inclined the Germanic tribes toadopt the animal style? What was the origin?

2. Compare the abstract decorative art of Early Medieval Europe as seen in theornamental page from the Book of Lindesfarne, with the Islamicdecorative style as seen in the Ardebil Carpet (7-4)

3. Discuss the importance of Charlemagnes role in the history of art.

4. In what ways can St. Gall and the church of St. Michael’s at Hildesheim berelated to Germanic sense of design as manifested in Frankishornaments (fig 8-2), and the Medieval was of thinking? Whatimportance do these buildings have for the development of Romanesque architecture in northern Europe?

5. Discuss the historical and political factors represented by the image of the Enthroned Otto III from his gospel book (fig 8-30). In what ways is thisimage Related to the changing political and religious situation inWestern Europe?

1. What factors do the authors believe inclined the Germanic tribes toadopt the animal style? What was the origin?

2. Discuss the importance of Charlemagnes role in the history of art.