Term
14-2 Jewelry of Queen Arnegunde, Abbey of Saint-Denis, Paris. Burial c. 580-590
• Merovingian – group in modern day France (close to Paris) who migrated from Belgium and settled northern Gaul
• Look very geometric and symmetrical – highly abstracted
• Jewelry – social class, status, standards of beauty, how they want to be seen, can reference political or religious preference |
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Definition
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Term
14-3 Gummersmark Brooch, Denmark. 6th century. Silver gilt.
• Scandinavian Norse People |
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Definition
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Term
Purse Cover, from the Sutton Hoo burial ship, Suffolk
England, first half of the 7th century.
• Anglo-Saxon burial (very similar to Beowulf)
• No inscription of who this was
• Dancers
• Ancient Near East – lyre box – stylized animals in profile with human figures |
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Definition
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Term
14-4 Hinged Clasp, from the Sutton Hoo Burial Ship, Suffolk, England. First half of 7th century. Gold plaques with granulation and inlays of garnet and checked millefiori glass, length 5
• Pattern within the pattern |
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Definition
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Term
14-5 Page with Man, Gospel Book of Durrow. Gospel of Matthew. Likely Iona,
Scotland, or northern England. Second half of 7th century. Ink and tempera on
parchment. Approx 10
• Instruments to glorify the word of God
• Thought to protect the parishioners from disease and misfortune
• Made by hand in a scriptorium
• Made on vellum – animal skin
o Matthew – man
o Mark -
o Luke -
o John –
• Very flat – no interest in space |
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Definition
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Term
14-1 Chi Rho Iota page, Book of
Matthew, Chapter 1 verse 18 from
the Book of Kells, late 8th or early
9th century.
• Very dense and colorful
• Maintains a sense of balance and symmetry
• Has the Celtic “swirl”
• Looks like metal work
• Many forms of symbology – perhaps the relationship between good and evil |
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Definition
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Term
A. Page with the Beginning of the Text
of Matthew
• Lots of time taken
• “Framing devices”
• Books would have been carried in procession |
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Definition
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Term
Matthew Writing His Gospel,
Lindisfarne Gospel Book. Lindisfarne.
c. 715-720.
• Stylized form
• Taken away any sense of space and modeling |
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Definition
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Term
Ezra Restoring the Sacred Scriptures, in
the Bible Known as the Codex Amiatinus.
Wearmouth-Jarrow. c. 700-715
• Attempt at perspective |
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Definition
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Term
14-12 Equestrian Portrait of Charles
the Bald (?), 9th century, bronze,
height 9 ½
• Sense of movement
• Slightly out of proportion – focus is on the ruler
• Holding the royal orb – representing the world
• Processional |
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Definition
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Term
14-14 Section Drawing of the Palace
Chapel of Charlemagne |
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Definition
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Term
14-14 Palace Chapel of Charlemagne, Aachen
(Aix-la-Chapelle), Germany, 792-805.
• Based on Roman architecture types – Old St. Peter’s
• Charlemagne – mythic reputation, god complex, sees himself as the successor of Constantine
• 800 – crowned in Old St. Peter’s as Emperor of the Church |
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Definition
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Term
14-15 Westwork, Abbey Church
of Corvey, Germany. Late 9th
century. (upper stories mid 12th
century).
• Westwork – uniting of the narthex and the upper clerestory (designed for Charlemagne for his public viewing – later turned into a place for the choir) |
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Definition
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Term
14-16 Plan of Abbey of Saint Gall, c. 817, near Lake Constance in modern day
Switzerland.
• Monastic communities – primarily Benedictine orders
o Area for housing animals
o Cloisters – central open area
o Public buildings – school, guest house, abbot’s house
o These plans are larger than most of the nearby villages |
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Definition
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Term
14-16 Reconstructions of the Abbey
of Saint Gall, c. 817, near Lake
Constance in modern day
Switzerland. |
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Definition
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Term
Page with Mark the Evangelist,
Book of Mark, Godescalc
Evangelistary, 781-83, ink, gold,
and colors on vellum.
• Latin Vulgate – standard bible for the Medieval Period (“vulgar” – meaning everyday)
• Purple vellum with gold
• Less attempt at depth
• Strong Byzantine effort
• Attempt at modeling – seen with the knee |
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Definition
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Term
| Page with Saint Matthew the Evangelist, Coronation Gospels. Gospel of Matthew. Early 9th century. |
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Definition
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Term
14-18 Page with Matthew the
Evangelist, Ebbo Gospels, Gospel of
Matthew, Second quarter of the 9th
century, ink, gold and colors on vellum.
• Use of line
• Some shadowing
• Religious fervor/frenzy – inspired by the word of God
• “Medieval Expressionism” |
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Definition
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Term
14-19 Crucifixion with Angles and
Mourning Figures, Lindau
Gospels. Outer cover. c. 870-880.
gold, pearls, sapphires, garnets,
emeralds. Approx. 14
• He is surrounded by earthly and angelic beings
• More triumphed – less realistic
• Symmetrical and balanced – effort to unify |
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Definition
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Term
14-23 Gero Crucifix. Cologne
Cathedral, Germany. c. 970. Painted
and gilded wood, figure height 6
• Body itself – represents Christ
• One of the very few works in wood to survive |
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Definition
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Term
14-25 Presentation Page with Abbess
Hitda and St. Walpurga, Hitda Gospels.
Early 11th cent. Ink and colors on vellum.
• Byzantine influence
• Reminiscent of Christ the Good Shepherd mosaic |
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Definition
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Term
14-26 Page with Christ Washing the Feet
of His Disciples, Aachen Gospels of Otto II.
c. 1000. Ink, gold, colors on vellum.
• Custom – washing a visitor’s foot
• Forms are elongated
• Stacking of space
• Plain wall bringing attention to the Christ figure |
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Definition
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Term
15-1 Christ and Disciples on the Road to
Emmaus.
Cloister of the Abbey of Santo Domingo
Castile, Spain. Pier relief, figures nearly lifesize.
c. 1100.
• Luke 24 13:35
• Elongated forms
• Forward thrust
• Characters are depicted as pilgrims heading to Santiago Da Compostela |
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Definition
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Term
15-3 Interior, Church of Sant Vincenc,
Cardona, 100s-1030s
• At nave – looking into arcade
• There is a nave arcade clerestory – meaning there is an arcade of windows
• Emphasis on verticality
• Barrel vaulting
• Heavy and dark interiors
• Ribs– vertical bands of masonry that jut out – means of strengthening the walls
• Bays |
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Definition
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Term
Reliquary Statue of Sainte Foy (Saint Faith)
Conques, France. Abbey church of Conques.
Silver gilt over a wood core.
Late 9th or 10th cent |
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Definition
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Term
| Arm Reliquary of the Apostles (German, about 1190) |
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Definition
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Term
Reconstruction Drawing (15-6), Plan (15-5) of
Cathedral of Saint James, Santiago de
Compostela
1078-1122 CE
• 11th and 12th centuries – rebuilt over a structure that was there previously destroyed by the Moors
• qualities – big arches, massive quality, towers at the end, symmetrical, cruciform shape
• Portals, lantern, ribs/transverse arches, crossing, compound piers
• Pilgrims could walk around outside without disturbing mass – “traffic control
• Nave has lost its central importance
• Ambulatory – continuation of the side isles (place to amble) |
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Definition
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Term
15-4 Transept, Cathedral of St. James,
Santiago de Compostela |
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Definition
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Term
15-7 Reconstruction Drawing of the
Abbey at Cluny (top)
Burgundy, France. 1088-1130. View
from the east |
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Definition
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Term
15-8 Reconstruction Drawing of the third Abbey
Church at Cluny (right). 1088-1130.
• Very rich – monks in direction connection with Pope
• Patrons of the art |
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Definition
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Term
15-9 Nave, Abbey Church of Notre-
Dame, Fontenay |
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Definition
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Term
15-10 Plan of the Abbey of Notre-
Dame, Fontenay
Burgundy, France. 1139-47 |
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Definition
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Term
Church of Saint-Étienne, Caen,
Normandy, France. c. 1060-77;
Façade c. 1096-1100; spires 13th cent.
Exterior:
• Heavy – not a lot of embellishment
• Smaller windows
• Three levels -
Three portals – represent division of the nave and the side aisles |
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Definition
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Term
Nave, Church of Saint-Étienne,
Caen, Normandy, France. Vaulted c. 1130
• Ribbed vaults for further verticality |
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Definition
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Term
15-11 Cathedral Complex, Pisa. Tuscany, Italy. Cathedral of St. Mary of the
Assumption, begun 1063;
• Relatively squat
• Lantern over the crossing
• Made of marble |
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Definition
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Term
15-21 Wiligelmo, Creation and Fall, West Façade, Modena Cathedral.
Emilia, Italy. 1099.
• Strong horizontal register – link to the Roman sarcophagus
• Left→ Right –
o Christ encircled in a mandorla (represented as God the Father and as Christ w/cruciform halo) – God calling the universe into existence
o Creation of Adam –
o Creation of Eve – takes a rib
o Adam and Eve covering themselves after eating the fruit
• Soft bodies w/no bones – not touching the ground |
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Definition
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Term
15-22 South Portal and Porch, Showing Christ in
Majesty, Priory Church of Saint-Pierre, Moissac
Tarn-et-Garonne, France, c. 1115
• Four evangelists – each a different representation
• Very busy, yet organized
• A story that the viewer is familiar with
• Moissac was a major pilgrimage stop
• Undulating forms that are very reminiscent of Islamic art |
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Definition
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Term
15-23 Trumeau, Priory Church of Saint-Pierre, Moissac
• Forms are very elongated
• Very graceful
• More of an emotional engagement
Tarn-et-Garonne, France, c. 1115 |
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Definition
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Term
15-24 Reliefs on the Left Wall of the Porch, Priory Church of Saint-Pierre, Moissac. France. c. 1115
• More portrayals of greed and lust
• Male – greed – moneybags
• Female – lust – confronted by Devil w/snakes biting at her breasts
• Luke 16 19:31 – most popular parable of Jesus in Romanesque art – Lazarus (leper) and the very rich man who is turned into a baby in the lap of Abraham (a representation of paradise) – a gross moral tale
• “Sermons in Stone” – lessons learned along the way |
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Definition
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Term
15-28 Giselbertus (?) Last Judgment tympanum on west portal, Cathedral of Saint-Lazare, Autun, 1130-45
• Unclear whether or not Giselbertus is the artist
• Illustrates Christ’s judgments
• Mandorla – heaven vs. hell, life vs. death ← struggle in between
• Figures to the left of the angel are going to heaven
• Figures to the right of the angel are going to hell
• Very symmetrical and balanced
• Grotesque and fear – meant to be a warning to the pilgrim
• Serves a very symbolic function |
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Definition
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Term
15-25 The Magi Asleep (above) and the Flight into Egypt
• Bring gifts the baby Jesus and warns Mary and Joseph of King Herod’s edict to “Murder of the Innocents”
• Shifting perspectives
• Fleeing to Egypt to save Jesus |
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Definition
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Term
Suicide of Judas
• Two demons are depicted hanging up Judas – betrayed Jesus for cash
• Very balanced |
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Definition
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Term
15-26 Crucifix (Majestat Batlló)
Catalunya, Spain. Mid 12th century. Polychromed wood, height approx 38
• Islamic influence
• Elongated forms
• Flat – modeling of the face and hair |
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Definition
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Term
15-27 Virgin and Child. Auvergne region, France. Late 12th century. Oak with polychromy, height 31
• Illustrates importance of Mary – responsible for Christ’s human form |
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Definition
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Term
The Bayeux Embroidery (Tapestry):
A. Messengers Signal the appearance of a Comet (Halley
• Messengers signal the appearance of a comet (Halley’s comet)
• Probably served as a backdrop for a dramatic interpretation of history
• Tries to justify the fighting of Normandy until he became William the Conqueror
• Detail of Bishop Odo Blessing the Feast |
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Definition
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Term
| C. Detail of Bishop Odo Blessing the Feast |
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Definition
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Term
15-31 St. Matthew, from the Codex
Colbertinus. c. 1100. tempera on vellum.
• Elongated forms
• Dangling feet with no weight |
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Definition
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Term
15-32 The Nun Guda, Book of Homilies
Germany, Early 12th century |
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Definition
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Term
The Mouth of Hell, Winchester Psalter, England, c. 1150
• Sends a message of warning - including the kings, queens and clergy |
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Definition
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Term
16-2 Abbey Church of Saint-Denis, France, 1140-44
• First gothic church
• Choir is the most significant addition
• Rib vaults – pointed groin vault with a transverse ridge rib, longitudinal ridge rib and panel |
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Definition
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Term
16-2 Plan of the choir of
the Abbey Church of Saint-
Denis |
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Definition
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Term
| Plan Abbey Church of Saint-Denis, France, 1140-44 |
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Definition
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Term
16-3 Ambulatory and Apse Chapels of theAbbey
Church of Saint-Denis, France, 1140-44
• Started to be built in the 1130’s
• Began under abbot Suger
• Radiant luminosity
• Main addition was the choir – allowed for more space and light
• Rib vaulting – sculptural decoration
• Big fat transept |
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Definition
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Term
16-4 The Flight into Egypt, From the Incarnation (Infancy of Christ) Window,
axial choir chapel, abbey church of Saint-Deinis, c. 1140-1144
• Open and flowing space
• Chapels are indistinguishable
• Adds a brightness |
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Definition
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Term
| 16-5 Cathedral of Notre-Dame, Paris. Begun 1163. view from the south. |
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Definition
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Term
Chartres Cathedral, Cathedral of Notre Dame, Chartres, France, 1134-1220
• Transitional
• Flying buttresses added later |
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Definition
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Term
16-6 West Façade, Chartres Cathedral,
(The Cathedral of Notre-Dame), France
West facade begun c. 1134-1260
• Cult of Saint Mary
• Served as a form of community involvement |
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Definition
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Term
16-7 Royal Portal, West Façade, Chartres Cathedral, c.1145-1155
• Jesus flanked by images]
• Very dynamic and high relief |
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Definition
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Term
| 16-8 Prophets and Ancestors of Christ (c. 1145-55) |
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Definition
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Term
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Definition
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Term
| 16-11 Nave, Chartres Cathedral |
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Definition
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Term
| Tree of Jesse, West Façade |
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Definition
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Term
| 16-12 Good Samaritan Window, South nave aisle |
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Definition
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Term
16-13 Rose Window and Lancets, North
transept, Chartres Cathedral |
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Definition
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Term
16-14 Plan Reims Cathedral, Cathedral of Notre Dame, Reims, France, begun 1211
• Was the coronation church for kings of France |
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Definition
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Term
16-15 West Façade Reims Cathedral, Cathedral of Notre Dame, Reims, France, begun 1211
o Three portals
o Exaggerated – moving upwards
o Has a sculptural quality
o More and more stained glass |
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Definition
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Term
16-16 West Façade, central portal, right side
(Annunciation and Visitation) Reims Cathedral, Cathedral of Notre Dame, Reims, France, 1211-15th century
o Annunciation – Angel Gabriel tells Mary you are pregnant with the son of God
o Visitation – when Mary tells her cousin Elizabeth (who is carrying John the Baptist) that she is pregnant
o Three Artist
• Artist #1 – lots of folds in drapery, similar to reliefs on the Ara Pacis
• Artist #2 and 3– depicts Mary and Gabriel as more withdrawn, simple |
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Definition
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Term
16-17 Nave, view toward west Reims Cathedral, Cathedral of Notre Dame, Reims, France, begun 1211
o Masonry dissolves
o More tracery |
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Definition
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Term
B. Upper Chapel Sainte Chapelle, France, 1243-1248
• Almost entirely in stained glass
• Very vertical
• Two story building
• Ribbed vaulting
• Upper and lower liturgical space
• Themes of stained glass – have to do with sacred kingship |
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Definition
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Term
16-18 Queen Blanche of Castile and King Louis IX, (left) 16-19 Moralizations from the
Apocalypse (right) from a Moralized Bible made in Paris, 1226-1234. Ink, tempera, gold
leaf on vellum.
• Clear registers – architectural looking
• Naturalistic figures – rather than elongated forms |
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Definition
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Term
16-31 Nicola Pisano
Pulpit, Baptistry, Pisa, (Annunciation, Nativity
and Adoration of the Shepherds detail) Italy, 1260
marble
• Mary in the middle – dominates the scene
• Higher relief
• Illustrates gothic obsession with Mary – representative of Christ’s humanity
• Is reminiscent of Roman sarcophagus reliefs |
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Definition
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Term
16-31 Giovanni Pisano
Detail of Pulpit, Cathedral, Pisa, (Nativity)
Italy, 1302-1310
marble |
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Definition
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Term
16-34 Coppo di Marcovaldo, Crucifix,
Tuscany, Italy, c. 1250-70, tempera and gold on
wood panel, approx 10
• Emphasis on “pathos” - emotion
• Reminiscent of byzantine style |
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Definition
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Term
| Interior, Church of St. Francis, Assisi, Italy, 1228-1253 |
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Definition
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Term
16-36 Life of Saint Francis, Miracle of the Crib at Greccio, Church of Saint Francis, Assisi, Italy. Fresco, late 13th century or early 14th
• Set in a gothic church in the choir area – separated from nave
• St. Francis is holding the Christ child
• Gothic elements – historiated crucifix, pulpit, baldacino (designation of the altar) |
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Definition
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Term
Anonymous, The so-called “Chain Map” of Florence, 1470’s
• Typical that it is set on a river
• Very high fortification of walls – 73 defensive towers, 15 gates
• A sense of regional and civic pride |
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Definition
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Term
17-2 Piazza della Signoria with Palazzo della Signoria (1299-1310)
• Residence of the city’s main governing body
• Civic center
• Place for community gathering
• Echoing of Ancient Rome
and Loggia dei Lanzi, 1376-82. Florence, Italy. |
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Definition
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Term
Bell tower (Campanile): Giotto,
Andrea Pisano, and Franceso Talenti
(c. 1334-50) 17-4 Florence Cathedral (Duomo)
1296-1378
• Drum and Dome: Brunelleschi (1420-36)
• Bellow tower (Campanile): Giotto, Andrea Pisano and Francesco Talenti (1334-50) |
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Definition
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Term
Baptistery, Florence, late 11th/early 12th centuries (Romanesque)
• San Giovanni – named for John the Baptist
• Thought to have been built over a temple dedicated to Mars
• Taken care of by guilds (finishers and merchants of wool) – religious monuments were a civic responsibility
• All children of Florence came to be baptized here (twice) – once as a Christian, the other as a Florentine |
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Definition
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Term
17-3 Andrea Pisano Life of John the Baptist
South doors, Baptism of Christ, Baptistry of San Giovanni Florence. 1330-36
• Pisano at the height of his career
• Looks very balanced
• Fits them into quatrefoil space in an intelligible way
• Higher reliefs provides more light and shadow |
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Definition
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Term
17-4 Andrea Pisano The Baptism of the Multitude
South doors, Baptistery of San Giovanni, Florence, 1330-1336. gilded bronze.
• Higher relief
• Greater difference in the foreground |
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Definition
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Term
17-5 Cimabue Virgin and Child Enthroned c. 1280
Tempera and gold on wood panel 12
• Prodigies was Giotto
• Transitional piece
• Byzantine influence
• We the viewer are looking at Mary at eye level
• Stacking of the figures |
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Definition
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Term
17-6 Giotto di Bondone Virgin and Child Enthroned
c. 1305-10
• Has more of an architectural framework
• Color is more “white” - modeling
• Gives a place for the viewer
• More sense of perspective and more realistic sense of depth
• Creation of space and presence
Tempera and gold on wood
panel, 10 |
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Definition
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Term
17-7 Giotto di Bondone, Scrovegni (Arena) Chapel, Padua, 1305-06. fresco.
• Atonement for sins
• Made up of frescoes by Giotto – follower of the Franciscans
• Role of the viewer is changing – more emotionally intense |
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Definition
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Term
17-8 Giotto di Bondone, Marriage at Cana, Raising of Lazarus, Lamentation, and Resurrection/ Noli Me Tangere, North wall of Scrovengi (Arena ( Chapel, Padua. 1305-06. fresco, each scene approx 6
• Marriage at Cana – first miracle – water into wine
o Attempt at depth
o Attempt at defining the space (shadows, enclosure)
o Not all figures face the viewer and not all figures can be seen completely
o Important parts of the story happening on the sides
o Sense of perspective – doorway
• Raising of Lazarus – raised from the death by Christ
o Implied diagonal upwards and line across connecting Christ and Lazarus
o Scene of chaos
o Sense of real space
• Lamentation - Mary mourning the loss of her son
o All figures are looking at Christ
o Viewer is included in the scene
o Putti are writhing in pain – very emotional scene
o Tree forms strong diagonal pointing toward Christ
• Resurrection – where Christ has after 3 days, body and spirit has returned to heavenly father
o Strong diagonal line in the background pointing toward Christ
o Mary Magdalene
o “giornata” – a day’s work |
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Definition
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Term
Giotto Crucifixion Arena Chapel
• Crucifixion
o No one is looking at him
o People flank both sides – soldiers on one side, women on the other
o Balance of the putti on both sides – they reflect the pain and emotion |
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Definition
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Term
Kiss of Judas
• Kiss of Judas – right before Christ is about to be arrested
o Judas’s cloak covers all of Jesus – Christ is still calm, anchoring figure
o Man with his arm out – crowd control – depth, characteristic of Giotto
o Chaotic
o Attempts space with overlapping |
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Definition
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Term
17-10 Duccio di Buoninsegna Virgin and Child Enthroned (Rucellai Madonna), commissioned in 1285, tempera and gold on wood panel, approx 15
• Doesn’t attempt to create a three-dimensional space
• Much more ornate pattern
• Sinuous – drapery falls delicately
• No monumentality |
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Definition
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Term
Duccio di Buoninsegna, Conjectural Reconstruction of Front and Back of the Maestá Altarpiece. Made for Siena Cathedra, 1308-11. tempera and gold on wood. Main front panel, 7 x 13
• Only the central panel is in one
• Virgin and Child in Majesty
o Served in a religious and civic context
• Duccio, Nativity with Prophets Isaiah and Ezekiel
o Less depth
o Christ child appears twice – during nativity and baptism – repetition
• The Calling of Peter and Andrew
• Raising of Lazarus
o Direct line across connecting Christ and Lazarus
o More sophisticated understanding of shadow and light and modeling |
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Definition
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Term
Duccio di Buoninsegna Virgin and Child in Majesty, Central Panel from Maestá altarpiece Siena Cathedral, 1308-11
• Only the central panel is in one
• Virgin and Child in Majesty
o Served in a religious and civic context
• Duccio, Nativity with Prophets Isaiah and Ezekiel
o Less depth
o Christ child appears twice – during nativity and baptism – repetition
• The Calling of Peter and Andrew
• Raising of Lazarus
o Direct line across connecting Christ and Lazarus
o More sophisticated understanding of shadow and light and modeling |
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Definition
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Term
17-13 Simone Martini and Lippo Memmi, Annunciation, made for Siena Cathedral,
1333. tempera and gold on wood, 10
• Focus on emotion – Mary is recoiling |
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Definition
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Term
17-14 Campo in Siena, Palazzo Pubblico,
(City Hall and its Tower). Pallazzo Pubblico 1297-1315; tower 1320s-1340s.
• Palazzo – center of civic affairs |
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Definition
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Term
17-15 Ambrogio Lorenzetti, The Effects of Good Government in the City and the Country, Sala della Pace, Palazzo Pubblico, Siena,
Italy. 1338-40. fresco.
• Completely secular commission
• Merchants, workers, etc. – propaganda for the oligarchy
• Country is an extension of a well functioning city |
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Definition
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Term
17-15 Ambrogio Lorenzetti, The Effects of Good Government in
the City and the Country, Sala della Pace, Palazzo Pubblico, Siena,
Italy. 1338-40. fresco. |
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Definition
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Term
Lorenzetti, Effects of Good Government, Siena, Italy, 1338-39.
• Good allegories - peace, strength, prudence, peace, etc.
• What a productive society looks like |
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Definition
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Term
Lorenzetti, Effects of Bad Government, Siena, Italy, 1338-39.
• Bad allegories - cruelty, treason, fraud, division, war, etc. |
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Definition
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