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| Purse Cover from Sutton Hoo Burial Ship. |
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| Found on the Sutton Hoo Burial Ship, a combination of abstract interlace ornamentation with animal figures is the hallmark of the early middle ages in Western Europe. |
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| Animal Head post from the Viking Burial Ship |
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| Decoration of sutton hoo burial ship. A powerfully expressive example of the union of two fundamental motifs of the warrior lords' art- the animal form and the interlace pattern. |
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| Cross inscribed carpet page |
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| Of the Lindisfarne Gospels exemplified the way Hiberno Saxon illuminators married Christian imagery and the animal interlace style of the early medieval warlords. |
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| From the Book of Kells, opens the account of the nativity of Jesus Gospel of Saint Matthew. From Iona, Scotland. |
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| "Chief relic of the world" was probably the work of scribes and illuminators at the monastery at Iona. The monks kept the book in an elaborate metalwork box, as befitted a greatly revered "relic", and likely displayed it at the church altar. |
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| Equestrian portrait of Charlemagne or Charles the Bald |
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| The portrait of Theodoric may have been the inspiration for a ninth-century bronze statuette of a Carolingian emperor on horseback. Depicts a crowned emperor holding a globe, the symbol of world domination |
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was King of the Franks from 768 and Emperor of the Romans (Imperator Romanorum) from 800 to his death in 814. He expanded the Frankish kingdom into an empire that incorporated much of Western and Central Europe. During his reign, he conquered Italy and was crowned Imperator Augustus by Pope Leo III on 25 December 800 in Rome.
His rule is also associated with the Carolingian Renaissance, a revival of art, religion, and culture through the medium of the Catholic Church. Through his foreign conquests and internal reforms, Charlemagne helped define both Western Europe and the European Middle Ages. He is numbered as Charles I in the regnal lists of Germany, the Holy Roman Empire, and France. |
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| Named after Charlemagne's name in Latin (Carolus Magnus) |
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| A remarkable historical phenomenon, an energetic, brilliant emulation of the art, culture, and political ideals of Early Christian Rome. |
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| Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca. |
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| The Carolingian copy of a previously made artwork. The painter using light, shade, and perspective to create the illusion of 3-dimensional form. Also using color, and modulation of light and shade, not line to create shapes and deft. The cross legged chair, toga, and lectern, are all familiar ROMAN accessories. |
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| Saint Matthew, folio 18 verso of the Ebbo Gospels (Gospel book of Archbishop Ebbo of Reims), from Hautvillers, France, ca 816-835). |
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| Made for Archbishop Ebbo of Reims, France, may be an interpretation of an author portrait very similar to the one the Coronation Gospels used as a model. Replace the classical calm and solidity of the Coronation Gospels evangelist with an energy approaching frenzy. Matthew is the winged man in the upper corner, the landscape in the background rears up alive. The man's hair stands on end, his eyes wide open, the folds of his drapery writhe and vibrant. |
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| Doors with relief panels (Genesis, left door; life of Christ, right door) |
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| The doors to saint Michael's from the Cloister where the monks would see them each time they entered the church. The panels of the left door illustrate highlights from Genesis, beginning with the Creation of Adam and Eve. The right recounts the life of Jesus Christ starting with the Annunciation. Draw parallels between the old and new testament. CommissionBernwarded by for St. Michael's |
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| Columns with relief illustrating the life of Jesus Christ. |
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| Commission by Bernward for St. Michael's Church. As in Early Christian times the Ottonian clergy interpreted the Hebrew Scriptures prefiguring the New Testament. Juxtaposed the panel depicting the Fall of Adam and Eve |
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| God accusing Adam and Eve. God is portrayed as a man, accuses, Adam and Eve after their fall from grace. Adam poses blame on Eve after pointing back towards her, both Eve and Adam crouch low trying to escape the lightning bolt of divine wrath. Made in Hildesheim Germany. |
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| Hiberno-Saxon Art or Insular. |
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| Christian Art of early medieval Britain and Ireland. The most important extant artworks are illuminated manuscripts produced in the monastic scriptoria of Ireland and Northumbria. |
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| Insular Books(6th to 10th centuries) |
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Definition
| Feature folios devoted neither to text nor illustration but to pure embellishment. "Carpet pages" consist of decorative panels or abstract zoomorphic motifs. Some books also have full pages depicting the four evangelists or their symbols. |
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| Carolingian Art (768-877) |
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| Charlemagne, King of Franks since 76, expanded the territories he inherited from his father, and in 800, Pope Leo III crowned him emperor of Rome (r.800-814). Charlemagne and his successors initiated a conscious revival of the art and culture of Early Christian Rome. |
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| In the mid 10th century, a new line of emperors, the ______, consolidated the eastern part of Charlemagne's former empire and sought to preserve the culture and tradition of the Carolingian period. |
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| West facade of the Abbey Church, Saint Denis, France. |
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| The west end of an old Church remodeled because of a new monk named Suger, who became Abbot of the Church when it was in disrepair. |
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| begins rebuilding the French royal Abbey church at Saint-Denis with rib vaults on pointed arches and stained glass windows. |
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| The rectangle is an oblong nave bay to be vaulted. If the architect uses semi-circular arches, their radii, and therefore their heights will be different because the width of a semicircular arch determines it's height |
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| The transverse and arcade arches can have the same heights. |
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| a sharply pointed ornament capping the piers or flying buttresses; also used on cathedral facades |
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| Masonry struts that transfer the thrust of the nave vaults across the roofs of the side aisles and ambulatory to a tall pier rising above the church's exterior wall |
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| The masonry blocks filling the area between the ribs of a groin vault. |
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| In plan, one of the ribs forming the X of a groin |
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| A rib crossing the nave or aisle at a 90 degree angle |
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| The lowest stone of an arch; in Gothic Vaulting, the lowest stone of a diagonal or transverse rib |
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| The windows below the vaults in the nave elevation's upper most level. By using flying buttresses and rib vaults on pointed arches, Gothic architects could build huge clerestory windows and fill them with stained glass held in place by ornamental stonework called tracery |
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| A tall, narrow window crowned by a pointed arch. |
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| The story in nave elevation consisting of arcades, usually blind arcades but occasionally filled with stained glass. |
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| The series of arches supported by piers separating the nave from the side aisles. |
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| A pier with a group, or cluster, of attached shafts, or responds, extending to the springing of vaults. |
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| About 1130 Louis VI moved his official residence to Paris spurring much commercial activity and a great building boom. Paris soon became the leading city and intellectual capital of France. |
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| West Facade, Chartres Cathedral |
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Definition
| The Early Gothic west facade was all that remained of Chartres Cathedral after the 1194 fire. The design still has much in common with Roman-esque facades. The rose window is an example of plate tracery. |
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| the key monument of Early Gothic Sculpture. Little of the sculpture Suger commissioned for the west facade of the abbey church survived the French Revolution of the late 18th century. |
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| Royal Portal, west facade, Chartres Cathedral, Chartres France. |
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| So named because of the figures of kings and queens flanking its 3-doorways, as at Saint-Denis, constitutes the most complete surviving ensemble of Early Gothic sculpture. |
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| depicts the seven female personifications of the liberal arts with learned men of antiquity at their feet. The figures celebrate the revival of classical scholarship in the 12th century and symbolize human knowledge |
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| Depicts Jesus' ascension into heaven, appears in the tympanum. All around in the archivolts are the signs of the zodiac and scenes representing the various labors of the months of the year. |
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| Rose window and lancets, Chartres France |
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| Immense stained glass rose and lancet windows, held in place by an intricate armature of bar tracery, fill almost the entire facade wall of the High Gothic not transept of Chartres Cathedral. The gift of Queen Blanche of Castile around 1220. |
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| Virgin and child and angels, detail of a window in the choir of Chartres. |
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| (our lady of the beautiful window). survived the fire of 1194. |
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| God as creator of the world |
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Definition
| "Here God creates heaven and each, the sun and the moon, and all of the elements". Paris boasted workshops for the production of illuminated manuscripts. ___ is using a Gothic builder's compass. From a moralized bible. |
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| Interior of the Upper Chapel |
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Definition
| At louis ix's sainte-chappelle the architect succeeded in dissolving the walls to such an extent that 6.450 sq feet of stained glass account for more than 3 quarters of the Rayonnat Gothic Structure. Exemplify the wall-dissolving High gothic architectural style |
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| Masterpiece of Late Gothic Flamboyant architecture. Its ornate tracery of curves and counter curve forms brittle decorative webs masking the building's structure. Rouen-France. |
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| Masterpiece of Late Gothic Flamboyant architecture. Its ornate tracery of curves and counter curve forms brittle decorative webs masking the building's structure. Rouen-France. |
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| Aerial view of the Salisbury Cathedral, Salisbury England |
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Definition
Exhibiting the distinctive regional features of English Gothic architecture Salisbury Cathedral has a squat facade that is wide than the building behind it. The architects using flying buttresses sparingly.
Began the same year work started on Amiens Cathedral begun in 1220. Includes some of the superficial motifs of French gothic architecture. |
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| Robert and William Vertue, fan vaults of the chapel of Henry IIV, Westminster Abbey, London |
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Definition
| Epitomized the decorative structure-disguising qualities of perpendicular style in the use of fan vaults with lace like tracery and pendants resembling stalactites. Intricate tracing resembles lace overwhelms the cones hanging from the ceiling. |
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| Virgin and the Dead (Germany) |
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The statuette of the Virgin crying over the distorted body of Jesus in her lap reflects the increased interest in the 13th and 14th centuries in Jesus' suffering and the Virgin's grief.
Wanted to humanized biblical figures. Expressed human body in motion. |
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