• also San Juan de Banos
• built by Recceswinth, an architectural votive offering
• basic basilica plan but smaller scale, more solid and solemn - more inward looking, built in war ravaged area
• not lofty or triumphal like St. Peter's, which declared triumph of Christianity
• horseshoe arch shape used all over
• no frescos or mosaics
• decorative capitals

• carpet page (maze like complexity that makes you want to look closer) 
• Evangelist portrait of Matthew (about to write his gospel, image sets you up for what you will find on the next page)
• full pages, used as divisions
• colophon states that bishop of Lindisfarne wrote it over many years to accompany moving of relics of St. Cuthbert to Lindisfarne
• book production connected to ritual activity
• all 4 Evangelist portraits are self-referential

Chi-rho-iota (XPI) page from Book of Kells, Iona, late 8th/early 9th century

• Ended up in Monastery of Kells in Ireland for safe-keeping after series of viking raids
• XPI - Christogram, 1st 3 letters of Christ
• in contrast, opening line of Book of Matthew takes up very small part of page
• huge size: could be used for display in liturgical processions: social object with a ritual role (like a bible in courtrooms)
• tiny details: 2 mice with eucharist, black  rat/possum with fish
• angels next to moths and on the same scale
• demands slow looking to appreciate different layers of image

• colophon in the Tabara Beatus
• signed by Emeterius, states that it took him 3 months of back-breaking labour to copy
• building has horseshoe arches
• right side of page damaged: a 3rd monk cutting  paper: show complete process of book making
• books: both paper and ink were precious materials, vellum - calf skin, blue ink made from ground-up lapis lazuli (reserved for robe of Virgin Mary)
• typical book took 4 scribes and 3 illuminators

• Portrait of Charlemagne, or Charles the Bald
• 10" tall: not monumental
• compared to monumental equestrian status of Marcus Aurelius on rome, it is far less detailed
• symbolic rather than naturalistic, partially because of influence of Byzantine tradition: pared down, essence of image
• meant to be a legible symbol of a new ruler in a new period: design is simple, stance is steady
• rule defined as being a king, not a general: holding orb, wearing crown, unlike Marcus: martial figure

• originally part of a much larger complex
• funerary role: housed relics, it became his mausoleum
• above main entrance: place for him to stand and make proclamations (chapel has public role)
• like San Vitale: central plan, octagon, elaborate west end, apse sticking out of octagon, elaborate marble
• permission from Pope to remove items from Byzantine churches in Ravenna to use in Palatine chapel (this was part of conflict between Byzantine and Roman Empires)
• creating an artificial line back to Roman and Byzantine emperors
• does not have exedra betwen piers (San Vitale did)
• Palatine chapel is simplified, components are less interconnected
• education under Carolingians: Charlemagne could not write, huge scriptorium at Aachen - translating, making standard eitions, part of Charlemagne's desire to unify regional traditions

• also the Gospel Book of Charlemagne
• luxurious production: wide margin, purple vellum, gold and silver ink
• St. John Evangelist portrait: about to write
• background of architecture and landscape: related to Roman illusionism - though image as a whole doesn't convey perspective, no spatial recession for foot stool
• clearly trying to draw on antique traditions (unlike Book of Kells evangelist portraits: Hiberno-Saxon tradition emphasizes pattern and color rather than antique illusionism) - relates to artistic choice, not ability

Ebbo Gospels, Hautvillers, France, c. 816-835

• roughly contemporaneous with Corontation gospels
• medieval expressionism
• St. Matthew: spiritual excitement, zeal, even frenzy (garment conveys frenzy more so than accurate contours of the body)
• how do you convey divine inspiration? Scroll of angel, lost connection with ink horn
• here, conveyed in a dramatic sense, Matthew is urgently writing his inspiration

Crucifixion, cover of Lindau Gospels, Saint Gall, Switzerland, c. 870

• Christ: no sense of gravity, arms and fingers completely extended
• above him, in frame of cross, sun and moon hiding faces
• little clusters of gems at different height from surrounding gems to catch light differently

• sent from Abbot Haito of Reichnau to Abbot Gozbert of Saint Gall
• utopic - for you to study only
• very precise: 3 beds, number of church seats
• closter: surrounded by church, dormitory, reflectory, cellar - all interconnected
• smaller church has its own cloister for the sick and novitiates
• peripheral zone for non-monks, follows distinction made inbenedictine rule
• hierarchy of space - different grades of initiation
• buildings with many different purposes: self-sustaining community, also stems from Benedictine rule

• founded by Bishop Bernward, tutor/advisor of Otto III
• double transept, so although still a basilica, visual pull of eastern end is undermined
• modular, geometric approach to design (crossing: square used as unit of measure, repeated in transept arms, aisles, nave - 3 squares that comprise nave are marked off by piers)

• Bernward inspired by antique Roman monuments: Rome has lots of great bronze doors
• 16' tall: 2 solid pieces, monumental
• between cloisters and church: monastic audience
• chronological order of biblical scenes is in u-formation, but typological connections betwen panels directly across from each other
• shallow relief so details of figures pop out (such as accusing figures in Accusation and Expulsion, create narrative clarity and drama. Accusation paired with judgement of Christ, Eve and Mary both in part of frame closest to one another, both carrying babes)
• Eve as cause of sin vs. Mary as redeemer of sin through her son, bodies through which sin and salvation are passed

• complement to bronze doors, contains scenes of life of Christ that are missing from bronze doors
• narative scene spirals upwards, from baptism to entry into Jerusalem
• freestanding, doesn't support anything

• 6' - 1st life-size wooden sculpture from Medieval Art, and 1st life-size crucifixion ever
• body overcome by suffering, flesh sags and pulls, head slumped forward, eyes closed, belly distended, orderly loin cloth contrasts with disorderly body
• contrasts with Lindau crucifixion
• cavity in back of head, to hold host?

• thick walls, barrel vaulting
• radiating chapels around ambulatory, key innovation for extra relics (main relic on alter) 
• estern end is much more elaborated than early Christian or early medieval churches
• 5 pilgrim churches, all located on major pilgrimage roads to Santiago.
• common features: ambulatory with radiating/apsidal chapels, side aisles with rib vaulting, transept with more chapels and aisles, so can walk around whole perimeter of church
• all these features create better circulation to accomodate more people, show more relics
• internationlization: churches with identical floor plans in North Spain and South France

• west end, elaborate narthex
• east end: 5 radiating chapels, 4 transept chapels
• can see where chapels stick out on exterior of building
• crossing tower at center of crossing, becomes major feature, like minarets, the spire can be seen from far away, also provides more light
• barrel vaults

• west end, elaborate narthex
• east end: 5 radiating chapels, 4 transept chapels
• can see where chapels stick out on exterior of building
• crossing tower at center of crossing, becomes major feature, like minarets, the spire can be seen from far away, also provides more light
• barrel vaults

• not on pilgramage road, extra chapels used for extra services rather than relics because they're not catering to pilgrims
• largest curch in Europe until 17th cemtiry, expansion of St. Peter's
• during French revolution, church destroyed, archives burned, used as quarry to build nearby houses
• elaborate east end: main crossing tower flanked by transept towers
• 2nd smaller transept located further east with smaller crossing tower
• very few churches based on Cluny, but most Cluniac churches decorated

• Cluniac church on pilgrimage road, heavy adornment paid for mostly through pilgrims' donations
• column capitals and piers highly decorated

• main portal, lay audience. 
• modeled on Roman triumphal arch. 
• tympanum: Christ enthroned, flanked by evangelist symbols holding books and by prophets. 
• lintel: 24 elders of the Apocalypse, gazing up at Christ (hierarchy of scale and gaze). 
• ornamental edging: more Hiberno-Saxon than Romanesque. Trumean- lions making x's. On side, prophet with legs crossed.

• mandorla inscription: about punishment and salvation, which the image contrasts, message is clear even without inscription
• Christ's right side (our left): the blessed
• Christ's lef: the danmed
• weighing of the souls: Archangel Michael
• lintel: souls lined up to be weighed, looking up at judgment (rather than at Christ like in St. Pierre)
• shell bag: Santiago, cross bag, Crusader

• Pentecost and Mission of the Apostles, combined in interesting way: both about spreading word of Christ
• iconography, relates to historical context of Vezelay
• Christ giving mission, depicted through rays coming from his hands to heads of Apostles
• center vs. periphery - lintel: "monstrous races" still awaiting the Gospel, compartments along edge of tympanum, states of being that can be stated through gospel - blind, disabled, possessed, magicians, dog-headed people (Muslims). 
• together, lintel and compartments create a medieval encyclopedia of the Other
• tympanum: always the same shape, used as template for complicated messages
• average pilgrim would not immediately understand all this imagery
• sermons held in front of doors, about going to fight infidel - imagery on tympanum enlivens these sermons?
• portals: liminal zone, civic and religious ID
• outer archivolt, zodiac signs and images of monks' seasonal work, cosmic element

The tympanum of the last judgment, Church of St. Foy, Conques, France, 1107

• Satan vs. angel in lintel (Abraham embracing two sons)