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| a large rectangular building. Often built with a clerestory, side aisles separated from the center nave by colonnades, and an apse at one or both ends. Roman centers for administration, later adapted to Christian church use. Constantine’s architects added a transverse aisle at the end of the nave called a transept. |
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| a large rectangular building. Often built with a clerestory, side aisles separated from the center nave by colonnades, and an apse at one or both ends. Roman centers for administration, later adapted to Christian church use. Constantine’s architects added a transverse aisle at the end of the nave called a transept. -ex. Chartres Cathedral |
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| large semicircular or polygonal (and usually vaulted) niche protruding from the end wall of a building. In the Christian church, it contains the altar. Apsidal is an adjective describing the condition of having such a space. |
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| the arm of a cruciform church, perpendicular to the nave. The point where the nave and transept cross is called the crossing. Beyond the crossing lies the sanctuary, whtehr apse, choir, or chevet. |
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| the topmost zone of a wall with windows in a basiclica extending above the aisle roofs. Provides direct ight into the central interior space (the nave). - ex. Chartres Cathedral |
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| the passage walkway around the apse in a basilican church or around the central space in a central-plan building. |
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| incorporates arched, sloping intermediate sections of wall that carry the weight and thrust of the dome to hevily buttressed supporting piers. |
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| in church architecture, the story found above the side aisles of a church, usally open to and overlooking the nave. Also: in secular architecture, a long room, usually avoe the ground floor in a private house or a public building used for entertaining, exhibiting pictures, or promenading. |
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| a masonry support made up of many stones, or rubble and concrete, often square or rectangular in plan, and capable of carrying very heavy architectural loads. |
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| the monumental, west-facing entrance section of a Carolingian, Ottonian, or Romanesque church. The exterior consists of multiple stories between two towers, the interior includes an entrance vestibule, a chapel, and a gallery overlooking the nave. |
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| used in vaults for either decoration or to reinforce the groins. |
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| a grand entrance, door, or gate, usually to an important public building, and often decorated with sculpture. |
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| the area over a door enclosed by an arch and lintel, often decorated with sculpture or mosaic. |
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| a column, pier, or post found at the center of a large portal or doorway supporting the lintel |
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| elongated or continuous semicircular vault, shaped likea half-cylinder – an arched masonry structure that spans an interior space. |
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or cross vault – a vault created by the intersection of two barrel vaults of equal size which creates four side compartments of identical size and shape.
-ex. Chartres Cathedral |
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| ribs (extra masonry) demarcate the junctions of agroin vault. Ribs may function to reinforce the groins or may be purely decorative. |
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| an arch built on the exterior of a building that transfers the thrust of the roof vaults at important stress points to a detached buttress pier leading to the wall buttress. ex. Chartres Cathedral |
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| an open space, part of a monastery, surrounded by an arcaded or colonnaded walkway, often having a fountain and garden, and dedicated to nonliturgical activities and the secular life of the religious. Members of a cloistered order do not leave the monastery or interact with outsiders. |
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| a handwritten book or document |
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| a writing surface made from treated skins of animals. Very fine parchment is known as vellum |
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| a fine animal skin prepared for writing and painting. better than regular parchment |
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| an object or a personal item of religious significance, carefully preserved as a memorial. |
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| a container, often made of precious materials, used as a repository to protect and display sacred relics. |
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| a type of linear decoration particularly popular in ancient and early medieval art, in which ribbonlike serpents, vines, or animals or ribbons are interwoven. |
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| an image in any material representing a sacred figure or event in the Byzantine, and later in the Orthodox, Church. Icons were venerated by the faithful, who believed them to have miraculous powers to transmit messages to God. |
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| the banning or destruction of images, especially icons and religious art. Iconoclasm in eighth- and ninth century Byzantium and sixteenth and seventeenth-century Protestant territories arose from differing beliefs about the power, meaning, function, and purpose of imagery in religion. |
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| lover of icons. supported their use for veneration. |
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| John-eagle, Mark-lion, Luke-ox, Matthew-winged man |
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Early Christian Art 3rd-5th centuries
Baptistery of a Christian house-church, Dura Europas |
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Early Christian Art 3rd-5th Centuries
Old St. Peter's Rome |
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Early Christian Art 3rd-5th Centuries
Basilica of Santa Sabina, Rome |
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Early Christian Art 3rd-5th Century
Sarcophagus of Junius Bassus |
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| Mosaic with the Infancy of Christ and the Adoration of the Magi from the triumphal arch of Santa Maria |
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n/a
Early Christian Art 3rd-5th Century |
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Early Byzantine Art 6th Century
Sant' Apollinare in Classe, Ravenna, Transfiguration mosaic |
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Early Byzantine Art 6th Century
Hagia Sophia, Istanbul
Architects: Anthemius of Tralles and Isidorus of Miletus |
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Early Byzantine Art 6th Century
Rabbula Gospels - Page with the Crucifixion and Ressurection
The crucifixion takes place against a background of blue mountains (Gareb and Agra). The sun with the eye in the upper part (left) and the moon (right) appear on each side of Christ for this is the hour of darkness and light. The 3 victims are crucified with 4 nails and no foot supports - a unique feature here. Near the cross of Christ 3 soldiers gamble for his clothes.
Jesus is depicted in full royal garments, in typical Syriac style. His long purple-gold tunic signifies the lordship of Christ who is exalted by his Father. The Syriac writing on the tablet declares: "This is the King of the Jews."
To the left of Christ is Longinus holding the lance which pierced the side of Jesus. The man with the sponge on the right side is Steaton who later converted and was martyred. To the far right are the 3 women who stood at the cross of Jesus: Mary of Magdala, Salome and Mary the wife of Clopas.
Dimas the good thief (viewer's left but Christ's right) with his head bent toward Christ is penitent and seeking God's mercy. The Scriptures recount him saying: "Lord, remember me when you come into your kingdom." To which Jesus responded: "This day you will be with me in paradise." Gestas, the unrepentant thief on the right, has an upturned and proud face. The mark near his lip may indicate an evil spirit. Standing near the cross of Dimas is Christ's mother Mary with raised hands covering her tormented face. The Apostle John suffers silently as he looks on with desolate eyes.
The resurrection scene in the lower half of the icon actually includes 3 distinct scenes: the empty tomb (Mt 28,2), the women carrying fragrant ointment(left-Mt 28,1), and the appearance of Jesus to the women on the road to Jerusalem ( right-Mt 28,9).
The resurrection scenes are dominated by plush greenery which suggests the new life of resurrection. The empty tomb in the shape of a small temple (center) is supported with 2 pink columns to form 2 brackets in the shape of lion's muzzles. The artist here suggests that the jaws of death cannot contain Christ. The 3 fearful soldiers are held back from the tomb by 3 rays of light seen radiating from the tomb.
On the left, an angel, carrying a wanderer's staff, sits on the stone, and talks to the women approaching the tomb. The first woman dressed in a royal purple mantle and with a halo alludes to the Mother of Christ. She is holding an alabaster jar; the second woman holds a smoking, cube-shaped censer.
On the right side, these same women kneel before the Risen Lord. The artist has given us a very full treatment of the death and resurrection of Jesus, the oldest in Christian iconography. |
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Early Byzantine Art 6th Century
Virgin and Child with saints and Angels, Icon from Monastery of St. Catherine on Mt. Sinai |
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Hiberno-Saxon Art 6th-8th Centuries
Purse cover from the ship burial at Sutton Hoo |
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Hiberno-Saxon Art 6th-8th Centuries
Page with Man (symbol of Matthew), Gospel Book of Durrow |
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Hiberno-Saxon Art 6th-8th Centuries
Chi Rho Iota - page from Book of Kells |
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Carolingian Art 8th-9th Centuries
Page with Mark the Evangelist, from the Godescalc Evangelistary |
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Carolingian Art 8th-9th Centuries
Page with Matthew the Evangelist, from the Ebbo Gospels |
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Ottonian Art 10th-11th centuries
Church of St. Cyriakus, Gernrode, Germany |
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Romanesque Art 11th-12th Century
Reliquary Statue of St. Foy, Conques, France
silver gilt over a wood core, with added gems.
How did the monks at Conques get the relic of St. Foy?
Conques itself lies on a mountainside, as it was founded by monks who fled from the incursions of the Moors near the Pyrenees, and they chose a desolate spot. For several centuries, they lacked the cachet of their own saint. They solved this by sending several of their monks to visit another monastery in Agen, bringing along a plentiful supply of liqueurs. While the monks were celebrating, a few of the Conques crowd crept into the church, raised the stone covering the remains of Sainte Foy, and carried them back to Conques. The topography of this town made it virtually impregnable to attack, so Saint Foy became the patroness of Conques. |
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Romanesque Art 11th-12th Centuries
Basilica of Saint Foy, Conques, France
Barrel Vault |
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Romanesque Art 11th-12th Century
Last Judgement tympanum, St. Foy, Conques, France |
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Romanesque Art 11th-12th Centuries
South portal, church of St. Peter at Moissac, France |
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Romanesque Art 11th-12th Century
Christ in Majesty, tympanum of the south portal |
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Romanesque Art 11th-12th centuries
Lions and prophet Jeremiah trumeau |
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Romanesque Art 11th-12th Century
tympanum from church of St. Lazarus, Autun France |
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Romanesque Art 11th-12th Century
Page with Hellmouth, from the Winchester Psalter, England |
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French Gothic Art 12th-14th century
Ambulatory choir, Abbey church of St. Denis, near Chartres Cathedral |
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French Gothic Art 12th-14th Centuries
West Facade of Abbey church of St. Denis
-there was a fire in 1194, built quickly so it’s cohesive in style, myth about the tunic of the Virgin being spared in both fires about people donating a lot of money to rebuild the cathedral but it wasn’t true – they were heavily taxed for it. Wanted to rebuild it so fast because of the money that came in due to pilgrimage
-118 ft tall! It’s so tall because of flying buttresses
-example of flying buttresses, nave arcade, triforium, clerestory, and groin vaults
-thinner walls, bigger windows, can be taller, more light with the flying buttress style over the barrel vault |
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French Gothic Art 12th-14th Centuries
Central Portal with Christ in Majesty, Abbey church of St. Denis |
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French Gothic Art 12th-14th Centuries
Tree of Jesse window, Abbey church of St. Denis |
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French Gothic Art 12th-14th Centuries
Reims Cathedral: exterior (west facade) |
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