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| Early Christian art--started developing after Constantine's Edict of Milan in 313. |
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| 313 AD. Constantine. Legalized Christianity. |
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| Byzantium--Constantinople--Istanbul |
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| Three names of the capital of the Byzantine Empire. |
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| Circular or radial design of East Christian churches in which the outside walls were equidistant from a central point. These churches were typically capped with a dome or rotunda. They have origins in tombs (including Roman imperial tombs like that of Hadrian) and Roman temples like the Pantheon. Notable examples include Santa Costanza in Rome, the Holy Seulchre, and Hagia Sophia in Constantinople. |
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| "The Grandaddy of all Central Plan Churches". The legendary tomb of Jesus Christ in Jerusalem. No longer exists. |
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| New style of church featuring a central nave flanked by one or two pairs of side aisles, divided by collonades, with an apse on one end housing the high altar. Origins in Roman upper-class homes, the standard rectangular Roman temple plan, ancient imperial Roman reception areas, and ancient Roman basilicas. St. Peter's in Rome served as the template for the Basilica plan. More prominent in Western European Christianity. |
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| 300AD, Split, Croatia. Fortified palace featuring a central reception hall flanked by colonnades. Possibly an influence on the central-hall style of the basilica plan. |
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| German city, site of the Aula Palatina, a basilica-like audience hall, built early 4th century. |
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| Mid-4th century. St. Constance Church--Rome. Named for the daughter of Constantine. Central plan. |
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| Old St. Peter's (Cathedra--cathedral) |
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| 333. Constructed by Constantine. Basilica plan--wide central nave, flanking aisles, apse at the end, transept. Template for the Basilica Plan. |
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| Sarcophagus of Junius Bassus |
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| 359AD. Marble, divided into 10 niches by carved columns; sculptures tell stories from the Old and New Testaments. |
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| St. Paul Outside the Walls |
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| Another of Constantine's basilicas. 4th century. Located in Rome. Burned. One of the four great Roman basilicas--including St. Peter's, St. John Lateran, and Santa Maria Maggiore. |
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| 432. One of the four great Roman basilicas (St. John Lateran, St. Paul's Outside the Walls, and St. Peter's). First church dedicated to the Virgin Mary. Flat, coffered ceiling. |
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| 532-537. Church of the Holy Wisdom. Constantinople. Byzantium's greatest church, and the model for the rest of Eastern Christian churches to come. Features basket capitals, mosaics, and a massive dome supported by buttresses and a pendentive system. |
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| A concave, triangular section of a hemisphere, four of which provide the transition from a square area to the circular base of a dome. Support structures. Featured in the Hagia Sophia, among other churches. |
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| Mid 6th century. In Classe, a suburb of Ravenna. Basilica plan. Half-dome mosaic above the apse features S. Apollinare flanked by 12 sheep, and a giant cross in a blue circle with gold stars, representing Jesus's transfiguration. |
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| 6th century central plan church. Features mosaics of the Sacrifice of Isaac, Abraham and Sarah Visited by Angels, and the mosaics of Justinian and Theodora. |
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| Byzantine Emperor and Empress, mid 6th century. Pictured in matching mosaics in the Church of San Vitale in Ravenna. |
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| Byzantine provincial capital of reconquered Italy. |
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| Style of Northern European art during the ancient and medieval periods, characterized by animals or animal-like forms intricately laced together. Originated with the "barbarian" newcomers to Europe. |
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| The windows that form the nave's uppermost level below the ceiling or vault. |
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| Late 8th century: 792. Carolingian. Chapel of Charlemagne's palace. Currently houses his remains, and was the site of coronations for 600 years. Basically just one big apse. |
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| Carolingian (Charlemagne) |
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| Pertaining to the empire of Charlemagne and his successors. 9th century. |
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| Open colonnaded court in front of and attached to a basilica. |
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| A porch or vestibule of a church, generally colonnaded or arcaded and preceding the nave. |
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| Central area of a basilica, demarcated by the aisles by piers or columns. |
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| The part of a church with an axis that crosses the nave at a right angle, giving the structure a cruciform shape. |
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| A recess, usually semicircular, in the wall at the east end of a church. Houses the high altar. |
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| Pertaining to the empire of Otto I (10th century) and his successors. |
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| St. Michael's, Hildesheim |
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| 1000. Double-ended Ottonian church. 4 main entrances, 2 transepts, 2 apses, striped archways. Features the bronze doors that lead to the monastic cloister, portraying Genesis and the life of Christ. |
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Early 1000s
Late Ottonian
Double-ended
Massive, not a lot of windows.
Quadripartite vaulting added in the 1200s, when the building got a Gothic makeover. |
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| Venice. St. Mark's Basilica. Early 11th century. Modeled on the Church of the Holy Apostles at Constantinople. Covered in interior mosaics. |
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| 1050-1150. "Romanlike" design of churches, etc., involving rounded arches, massive structures, barrel vaulted ceilings. Example: St. Sernin at Toulouse. |
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11th century: 1063.
Facade--column arcades (Tuscan)
Romanesque building
Basilican plan with dome over the crossing. |
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| Late 11th century. 1080-1118AD. Romanesque. Bunching of semi-independent structures. First vaulted ceilings (barrel vaults), dimly lit, one huge bell tower at the crossing. |
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| Late 11th century: 1093. England. Romanesque. Ribbed groin vaults (very heavy ribbing), mostly round arches, some pointed ones. |
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| Blind arcaded gallery below the clerestory in Gothic cathedrals; occasionally filled with stained glass (glazed). |
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| Passageway around the apse and choir of a church--extension of the side aisles. Typically led around and behind the altar, passing by chapels that radiated off the apse. |
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| Space reserved for the clergy and singers in the church usually east of the transept. |
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| East (apse) end of a Gothic church including the choir, ambulatory, and radiating chapels. |
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| Early 12th century: 1103. Burgundian. Very slight pointed arch, 3-part elevation. Nave arcade, triforium, clerestory. Romanesque. |
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| 12th-14th century Western European art. Churches featured pointed arches, choirs, radiating chapels, ambulatories, flying buttresses, and skeletal, light-filled structures. |
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| 12th century: 1135. First monument of Gothic architecture. Headed up by Abbot Suger. Choir has a brick ceiling with ribbed groin vaults, lots of glass. Earliest known rose window in France. |
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| Abbot of Saint-Denis (1081-1151) who oversaw the rebuilding and remodeling of the cathedral. Wrote a treatise on light, saying that light=God and that the quality of light is as important as the quantity. |
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| 12th century: 1150. France. "Vestige of Romanesque massiveness". COWS in the tower. Early Gothic styel. Sexpartite vault divisions, nave divided into four stories--arcade, gallery, triforium, small clerestory. Colonnettes alternate 3, 5, 3, 5; never reach the ground--stop at pier capitals at top of arcade. |
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| Way of reinforcing a vaulted ceiling where six ribs meet at the highest point, dividing the vault into six webs. Seen in early Gothic churches like Laon Cathedral. |
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12th century: 1163. Transitional from Early to High Gothic. First flying buttresses.
Early--Sexpartite vaulting, four-story elevation
High--3 colonnettes, running all the way down to the floor. |
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12th century: 1174. England.
Lawn, sculptural west facade, no spires. Strainer arches (scissor arches) at intersection of nave and transept added in the 14th century. |
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12th century: 1134 (first fire), 1194 (second fire)
Early Gothic--barely pointed arches over doors.
Mismatched spires
High Gothic construction: c. 1200 |
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| Support system for vaults that involves four ribs meeting at the highest point, dividing that section of the vault into four webs. High Gothic style. |
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13th century: 1220
Transitional from High to Late Gothic
Tons of decoration
Deep door portals, lots of sculpture
Quadripartite vaulting
Glazed triforium
TALL--Almost twice the height of Laon. 140 feet tall. |
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13th century: 1220
Tallest spire in England
Lawn
Encrusted with sculpture
Puny buttresses
Two transepts
Colonnettes stop at triforum
Emphasis placed on the uninterrupted horizontal, as well as the vertical |
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13th century: 1248
Very French, despite being in Germany
Tall and skinny
High Gothic--quadripartite vaults, glazed walls, colonnettes go to the floor.
German custom of placing statues of the saints on piers. |
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14th century
Santa Maria del Fiore
Massive quadripartite vaults, pointed arches
Heavier
Roman background |
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14th century: 1386
SPIKY
Final major Gothic cathedral
Small clerestory, swirling rose windows. |
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| Manuscript in which the text is supplemented with illustrations. Typically done to Christian texts, on vellum (very thin leather) pages, in egg tempera paint. |
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| Refers to the inhabitants of the post-Roman British Isles, including Ireland, Scotland, and Britain. |
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| Late 8th century: 798. Hiberno-Saxon. Made on Iona (off the Scottish coast). Illuminated manuscript produced by Celtic monks. Contains the four gospels of the New Testament. Features intricate, knot-like patterns, and was made as an act of devotion. |
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| Early 9th century. Carolingian. Classically influenced, attempts at three-dimensionality. Features the images of Heavenly Jerusalem and the Fountain of Life. |
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| Early 9th century. Carolingian. Illuminations are more stylized, sketchy, streaky and linear, full of energy. |
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| 1000. Ottonian. Two-page frontispiece features Otto III enthroned, with his subjects bringing him gifts. (Four women represent the four areas of his empire: Rome, Gaul, Germany, and Sclavinia (?)) Also features St. Luke holding a matrix of circles and animals above his head, and Christ washing the feet of St. Peter. |
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| Gothic. Book of psalms. Favored type of prayer book in the Gothic era. Good examples are the Ingeborg Psalter (1200) and the Psalter of St. Louis (1253) |
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| Bishop Bernward of Hildesheim |
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| 10th century: 960-1022. Bishop of Hildesheim, organized St. Michael's facelift, including (and most famously) the bronze doors to the monastic cloisters. |
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| 1103--part of St. Sernin at Toulouse. Doorway of the cathedral, known for the Romanesque sculpture in the tympanum above the door. Ascension of Christ--raise the roof. |
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| 1125-1135. St. Lazare at Autun. Main facade portal. "Gilbert made this". Last Judgement |
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| Architectural element located within the arch of a pediment. Lunette-shaped. In Gothic churches, often filled with sculpture. |
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| The continuous molding framing an arch. In Romanesque or Gothic architecture, one of the series of concentric bands framing the tympanum. Typically carved or decorated elaborately, as seen in churches like St. Lazare at Autun or Strasbourg Cathedral. |
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| Sculptures that decorate columns on either side of a doorway. Chartres' jamb figures are male and female Old Testament characters. |
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| 13th century--1211. High Gothic. Tympanum of central west portal is a rose window. Four jamb figures on either side--presentation of Christ in the temple, annunciation and visitation. Joseph Master style. |
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| Strasbourg: Ecclesia and Sinagoga |
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| 13th century--1230. Ecclesia is left jamb figure--represents the Church. Crowned, with a cross and a chalice. Sinagoga is on the right, represents the Synagogue, blindfolded and holds a spear. Long, elegant figures. Wise and foolish virgins with the Tempter jamb figures. |
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| 13th century--1230. South transept portal of Strasbourg cathedral. Tympanum over left doorway (there's only two). Jesus in the center, holding Mary's "soul". |
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| Mid 1200s. Round arch portals with rick rack. Adam portal--St. Peter, Adam, Eve. Very deep rounded portal--Princes poral. Last Judgement tympanum. |
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| Mid-1200s. Western apse--life-size sculptures of founders and benefactors of the cathedral. Painted. Choir screen--passion of Christ narratives. Crucifixion at center. |
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