SLIDE– Middle ages
The Middle Ages, the “Dark” ages, or the Medieval period.
Lasted from the fall of Rome in the 5th century until the 15th century.
The center of European civilization moved northward – Migratory Art.
Once thought of as an age of decline, ignorance and barbarism
Nestled between 2 golden ages
Because Feudalism also developed during this time
Now we know there was really a lot of richness and innovation during that time.
Feudalism - a system of interdependence between nobles & peasants –
Nobles own land, peasants live on and work it
In exchange, peasants got protection & some of what they harvested.
There are 3 main periods to the Middle ages.
1. Early (to the 11th cent.)
2. Romanesque (11th and 12th)
3. Gothic (mid 12th - 15th)
The styles are more important for the labels than the actual dates.
There is some overlap of dates of the styles.
Early medieval art is a fusion of Germanic, Celtic, and Roman cultures
All united by the influence of Christianity.
Church was the main patron (and often only patron) of the arts.
VIKING & HIBERNO-SAXON ART:
The British Isles and Scandinavia were well-populated agricultural communities.
In Scandinavia Most people there spoke Norse.
Had different mythologies than the Romans - never part of Roman Empire.
Celts (an ancient European people) people in Britain, Ireland, and parts of Gaul (France).
SLIDE - Purse Cover from Sutton Hoo Burial Ship. Suffolk, England. 625. Gold, glass, and enamel cloisonné with garnets & emeralds.
Anglo-Saxon literature is full of references to precious jewelry military equipment
Decorated with gold & silver.
Beowulf (Anglo-Saxon epic from the 7th century) describes its hero’s burial
Buried with a hoard of treasure in a grave mound near the sea.
This object was from a burial site just like the one described in Beowulf.
Discovered in 1938 near the North Sea coast in Suffolk
Called the Sutton Hoo - Hoo means “hill”.
The grave’s occupant was buried in a ship - parts of the ship were found at the site. Wood and occupant’s body had deteriorated.
Large ship - 86’ long.
No name was found, but this was a wealthy & powerful man.
Inside were weapons, armor, luxury items including a large purse filled with coins. The leather purse has rotted away, but this cover survives.
Has a gold frame wet with garnets & enamel in patterns.
Abstract patterns, spirals, and stylized animals.
Northerners liked these kinds of decoration.
The upper ornaments - polygons with geometric patterns on the ends
4 interlaced animals in the center.
Below, middle - hawks attack ducks.
On the sides, humans stand between 2 animals.
Are the humans being attacked, or are they controlling the animals?
This theme is similar to the ANE bull-lyre.
SLIDE - Viking Burial Ship. Oseburg, Norway. 815 - 820. Wood. 75’ 6” long.
This was a burial vessel for 2 women.
Most of the treasure was looted, but obviously a very rich woman’s burial chamber. Possibly a Queen’s burial.
The other woman might have been her servant.
Horses, oxen, & dogs were sacrificed, and buried with the women.
The Vikings thought of their ships as sleek sea serpents. Dragon-like.
This one rises and coils much like a snake, and even ends in a tiny serpent head.
This ship was not built for ocean voyages - for navigating calm, inland waters of fjords. The cabin walls were covered in rich tapestries, of which some fragments remain.
A few huge chests (now empty) were found.
2 looms - indicates the skills of the women.
Shows that women, too, were honored with a seaworthy burial site.
Burials at sea symbolize a dead warrior’s passage to the next life.
SLIDE 4 - Viking Post, from Oseburg burial ship. Wood. 36” long.
Images of strange beasts adorned all kinds of Viking stuff –
Jewelry, houses, beds, wagons, later even churches.
Historians are unsure of the meaning or purpose.
These posts are the epitome of Viking ornament.
Traces of paint are sometimes found on the wood.
Several were found inside the Oseburg burial ship - each about 3’ long.
Each one is unique, but similar in that all are long-nosed dog or cat-like creatures
Bulging eyes, short muzzles, snarling mouth with large teeth.
Decorated with writhing masses of delicately carved interlocking beasts
Called “gripping beasts”
They clutch each other with small claw-like hands, circular
SLIDE - Wooden Portal in Viking style. Urnes, Norway. 1050.
Graceful elongated animal figures are entwined on the doorway.
Almost look like organic growth - vines.
Tendril-like curls and lines. Slightly abstracted.
On a Christian church - shows the blending of Viking and Christian cultures
SLIDE - Book of Durrow, Page with Lion, Gospel of Saint John.
Probably Iona, Scotland. 675. Ink & tempera on parchment. Approx. 10” x 6”
The Anglo-Saxons who settled in Britain were pagans,
But Christianity eventually found its way to the area.
Monasteries appeared in SW England and Wales, Scotland, & Ireland.
Monks produced many illuminated manuscripts, especially gospels
Beautifully written, illustrated & bound.
Made by monks in workshops called “scriptoria”
These gospels generally were placed on the altars of churches.
Book of Durrow - named for the town in Ireland where it was kept.
Local design motifs such as serpents and animals.
Images resemble the metalwork from the Sutton Hoo purse – similar traditions.
Each gospel is introduced with a symbol
Correspond with the evangelist who wrote it.
St. John’s symbol is a lion.
The lion looks ferocious, with sharp claws, jagged teeth, and a wild eye.
Stylized body - lines are painted yellow to suggest gold.
The lion’s head has a stipple pattern,
Body is decorated with diamond patterns, which look like enamel designs.
Ribbons interlace the borders.
SLIDE - Chi Rho Iota Page, Book of Kells. Iona, Scotland. 8th - 9th century.
Tempera on vellum. 13” x 9 ½ “.
An 11th century observer called this gospel book the “chief relic of the Western World”. It is one of the most beautiful, original surviving Hiberno-Saxon gospel books.
Said to have been the “work of an angel”.
4 scribes and 3 major illuminators worked on it.
It would take about one month to produce a page like this.
185 calves were killed to make the vellum it is printed on.
The colors used came from as far away as Afghanistan.
This is the monogram page that introduces the Gospel of Matthew.
Celtic heritage is evident in the animal interlace & spirals.
Outlined each letter, subdivided the letters into panels
Filled with interlaced animals & snakes, & knot motifs.
Faces & figures (Jesus & angels) are hidden within.
Jesus’s face is in the dot at end of Rho.
3 angels on the left side of the Chi’s stem –
There are hidden fish, moths (signs of rebirth), chalices, & goblets.
At the bottom, 2 cats pounce on mice (they are eating the communion wafer)
2 more mice attack the cats - they represent good vs. evil
Also is a reminder of how monks had to keep rodents off the food in monasteries.
SLIDE - South Cross. Ireland. 8th century. Stone. 18’ tall
Many monumental stone crosses made in Ireland in the 8th -10th centuries.
Called “High” Crosses because of their size.
A circle encloses the arms of the cross - a Celtic feature.
Often interpreted as a halo, or a ring of heavenly light.
Also supports the arms of the cross.
This one outlined with a ropelike molding called “gadrooning”.
Covered with spirals and interlace.
Large bumpy projections (called bosses) form a cross within the cross,
resemble jewels placed on similar metal crosses used as containers for holy relics. Shows a metalwork influence.
SLIDE - Commentary on the Apocalypse, credit page. by Emeterius.
“Colophon page.” Spain. 970. Tempera on parchment. 1’ 2” x 10”.
Spain had been under Roman control
In 4th and 5th centuries, ruled by Visigoths - Germanic tribes.
In 711 Spain was conquered by Islamic invaders.
Most Christians & Jews not forced to convert to Islam
Had to accepted its rule, and pay extra taxes.
Was a rich exchange of artistic influences between Islam & Christian communities. Created a colorful new style.
This Book was made in the 8th century by Beatus, a Spanish monk (was widely copied)
It is a comment on the Apocalypse:
From the Book of Revelation
Appealed to Christians in their struggle against the Muslims.
Emeterius & Senior copied this version, and signed it on the colophon (last page).
The colophon page provided specific info about the production of the book.
Many scribes didn’t sign work, but Mozarabics - “would be Arabs” usually did.
It shows a monastery, a 5-story stone tower with a scriptorium attached.
You can see outside and inside simultaneously.
Horseshoe arched windows & brightly glazed tiles in geometric patterns.
Common of Islamic architecture styles. Shows Visigoth & Islamic influence.
Shows a slice of monastery life:
On right is Emeterius (painter), and at left is Senior (the scribe)
They are working at a small table.
Identified by inscriptions over their heads.
Another man cuts vellum, 3 people are climbing ladders.
A monk pulls the ropes to ring the monastery bells at the bottom.
SLIDE - Saint Matthew, from the Gospel Book of Charlemagne.
Aachen, Germany. 800 - 810. Ink and tempera on vellum. 13” x 10”.
Made for Charlemagne’s personal collection – he had an extensive library.
Books were a tool for Carolingian rulers to promote education & Christianity.
Saint Matthew, Ebbo Gospels. Hautvilliers,France. 816 - 835.
Ink and tempera on vellum. Approx. 10” x 9”.
Was named for Archbishop Ebbo, of Reims, France.
Artists therefore put a lot of energy into scriptoria (workshops to create manuscripts).
They produced authoritative copies of key religious texts.
Beautiful gold borders, and the text is also written in gold.
This page from the Ebbo Gospels has brilliant color drawings
Intense theatrical style - Medieval expressionism.
Matthew is writing the word of God, quickly & intensely.
Prominent eyebrows, hunched shoulders, wide eyes.
You can sense his turbulent emotions.
Landscape looks like it’s falling off the page - windswept & twisted.
The desk, bench, footstool and bookstand tilt at odd angles.
There is an angel (Matthew’s symbol) in the upper Right corner
SLIDE - Utrecht Psalter (Psalm 23). Hautvilliers, France.
820 - 835. Ink on vellum. Approx. 13” x 10”.
This is perhaps the most famous of Carolingian illuminated manuscripts.
It was made in the same scriptorium as Ebbo Gospels.
Written in Latin capital letters, and illustrated with Ink drawings.
Psalters contain the Old Testament Book of Psalms (songs of David),
Does not tell a straightforward story
Difficult to present in a clear way.
The illustrations are VERY literal translations of individual words.
They are done in the same quick, expressive drawing style as the Ebbo gospels.
SLIDE - Crucifix Cover, Lindau Gospels. St. Gall, Switzerland. 870.
Gold, precious stones, and pearls. Approx. 13” x 10”.
This is a book cover.
Manuscripts were such an investment of time, talent & materials.
Had to be protected with equally magnificent covers.
But frequently they were stolen & broken up for the precious materials:
Ivory, enamel, metals, and jewels.
This one is made of gold with the figures in repousse relief
(Hammered from the back so it sticks forward).
Crosses & crucifixions were common themes for medieval covers –
Angels hover above the arms of the cross.
Over Jesus’ head, figures that represent the sun and moon are hiding their faces. Mourners below his arms
(some in the same expressive poses as the Utrecht Psalter.)
Jesus is modeled in a round and somewhat naturalistic way.
His pose & drapery seem a little stiff.
The figures are surrounded by heavily jeweled frames
Pearls & jewels arranged so the smaller jewels surround larger ones.
In the Middle Ages, jewels were only polished - not cut & faceted.
SLIDE - Palace Chapel of Charlemagne. Aachen, Germany. 792 - 805.
The Carolignians (comes from word Charlemagne - Charles - carlo)
Germanic people from Northern Gaul - under King Charlemagne.
Charlemagne imposed Christianity, often in brutal ways.
Ruled parts of Germany, France, Italy, Beligum, & Holland.
This is Charlemagne’s private chapel - blends Roman Christian with the Northern style.
He enjoyed hunting and swimming
So built his palace complex in the forest - near the hot springs of Aachen.
Charlemagne had been to St. Vitale in Ravenna, and
His chapel has a large central plan similar to St. Vitale
He added a tall cylindrical staircase on each side.
An ambulatory aisle surrounds the core to form a 16-sided outer wall.
It is definitely a “royal” chapel –first vaulted structure of Mid Ages (not Byz)
Spiral stairs led to his throne room (with a marble throne) on the 2nd level
Opened into a rotunda for Mass.
SLIDE - Chapel of Charlemagne interior.
An octagon that rises to a gallery level & clerestory.
The gallery has 2 tiers of purple-marble Corinthian columns
Charlemagne had them specially imported
Definite vertical emphasis with clearly divided sections.
It does not have the sense of floating space like San Vitale –
The grills and columns flatten the space
Create a powerful vertical pull to the top of the vault.
SLIDE - Church of St. Cyriakus. Gernrode, Germany. 961 - 973.
Built by the Ottonian dynasty –dynasty of Saxon rulers.
New dynasty that ruled the Eastern part of the former Carolingian empire.
Ottonian refers to the reign of three rulers named Otto
Their empire included parts of Germany and northern Italy.
Wanted to re-create glory of the Roman empire Christian architecture
Combined Roman architecture (basilica) with their local architecture and materials.
Thus the the Ottonian style was born.
Most Ottonian buildings burned in their own time
(Some destroyed in later war)
This church was designed as a basilica with
Has a westwork (a monumental west-facing entrance section of a church,
With multiple stories, between 2 towers.)
There is blind arcading and windows to break up the severity of the brick exterior.
SLIDE - Nave of St. Cyriakus.
The interior has 3 levels:
1st level has a nave with an arcade that separates it from the aisles.
The columns alternate with rectangular piers.
The 2nd level is a gallery level, overlooks the nave.
Galleries are rarely used in the west.
The 3rd level is a clerestory, capped by a flat ceiling made of wood.
There is a shifting visual rhythm made by the arches
There is also a repetition of alternating heavy & light supports.
This interior was thought to be visually stunning
Inspired architecture for the next 300 years.
SLIDE - Doors of Bishop Bernward. St. Michael’s Church.
Hildesheim, Germany. 1015. Bronze. 16’ 6” tall.
Ottonian artists created large sculptures in bronze & wood.
An important patron of these works was Bishop Bernward of Hildesheim
Bishop & an artist who oversaw lots of building projects.
These doors were made under his direction, for the Abbey Church of St. Michael.
This was the most ambitious & complex bronze casting since Ancient Rome.
Small active figures move in landscapes, very low relief casting.
Framed in just like Carolingian gospel books
Scenes are similar to the Utrecht Psalter.
The figures are in higher relief than the landscapes, their heads fully 3D modeled.
The Old Testament themes are on the left
Set up the New Testament themes on the right (see handout).
SLIDE - Gero Crucifix. Cologne, Germany.
970. Painted & gilded wood. 6’ 2” tall.
This is one of few large works of carved wood to survive from the period.
Archbishop Gero of Cologne commissioned it & presented it to his cathedral.
The figure of Jesus is more than 6’ tall,
The focus is on Jesus’ suffering. He is a tortured martyr.
The intent is to inspire awe & pity.
His body sags on the cross, his head falls forward, eyes closed.
The miracle of resurrection seems very distant.
A cavity in the back of the head was made to hold a piece of the host –
The communion bread consecrated by the priest.
Represents the body of dying Jesus
SLIDE - The Gospels of Otto III. 1000. Ink on vellum. 8” x 6”.
This Book of Gospels shows the painter’s narrative skill
Here Jesus gathers his disciples together to wash their feet.
Jesus is in the center - larger than the other figures.
He extends a blessing to the elderly apostle Peter.
Peter protests about the foot washing,
He reaches toward Jesus with extended arms.
There is gold behind them, and the architecture that represents Jerusalem.
Background similar to Roman landscapes, but architecture is now churches.
Figures look very different- Christ is seen as clean-shaven (Roman tradition)
Emphasis has shifted from physical to spiritual action
Christ and Peter are larger than the rest, disciples are crushed together