SlideShare una empresa de Scribd logo
1 de 362
Descargar para leer sin conexión
Chapter 7 
Jewish, Early Christian, and 
Byzantine Art
Catacombs of Commodilla, Jesus the Alpha and 
Omega 
Rome, Italy 4th c. AD. fresco
Catacombs of Commodilla, 
Jesus the Alpha and Omega 
• This panel shows a bearded Jesus 
flanked by two Greek letters: on the left 
alpha, the first letter of the alphabet, on 
the right, omega, the last letter of the 
alphabet. The picture evokes Rev 1:8: "I 
am the Alpha and the Omega, says the 
Lord God, who is and was and who is to 
come, the Almighty."
Chapters 7,8,14,15, 17 & 16
Menorahs and Ark of the Covenant, wall painting in a Jewish 
catacomb, Villa Torlonia, Rome, 3rd Century.
Dura-Europos in Syria c.244-245 wall with the Torah Niche, 
tempera on plaster
Detail of Niche at Dura- 
Europos in Syria c.244- 
245 wall with the Torah 
Niche, tempera on 
plaster
Finding of the Baby Moses, Wall painting Dura-Europos, 
Syria. Copy in tempora on plaster 244-45 AD.
Maon Synagogue floor, 
Eretz Yisrael, 530 AD., 
mosaic detail.
Menorah 
• During the wanderings of the Children of 
Israel through the desert, the artisan, 
Bezalel, the son of Uri, was commanded 
to fashion a seven-branched candelabrum 
or menorah, for use in the Lord's 
Tabernacle:
CHRISTIAN SYMBOLISM 
• Like Musical Notation, Christian 
Symbolism illustrates that for which it 
stands. And it adds a certain beauty and 
mysticism to religion, speaking as it does 
of an unseen world and a supernatural 
faith. For the proper understanding of 
Christian Art and Architecture some 
knowledge of symbolism is absolutely 
necessary.
Symbols 
• The Dove represents the HOLY GHOST, under which figure the 
Holy Spirit descended upon Christ at His Baptism. 
• The Fish represents Christ - The Greek word "Ixthus" which means 
"Fish," is spelled from the first letters of Greek words meaning, 
"Jesus CHRIST, Son of GOD SAVIOR." This sign was used as a 
secret symbol by the early Christians in the days of persecution. 
• The Gospels are symbolized by the Figures of a Man, a Lion, an 
Ox, and an Eagle referring to Saint Matthew, Saint Mark, Saint Luke 
and Saint John, who respectively represented Our Lord as Man, 
King, Priest and Victim and GOD. 
• The Lamb typifies Christ as the Lamb of GOD symbolizing Christ’s 
sacrifice on the Cross. It is usually seen holding a Banner and 
Cross. The Good Shepherd also represents Christ. This is probably 
the earliest of all Christian symbols. CHRIST is sometimes shown 
with the Sheep in His Arms.
Chapters 7,8,14,15, 17 & 16
Symbol of the Cross 
• The Cross represents the mode of 
Christ’s Death. Though long antedating 
Christianity it was early adopted as a 
Sacred Symbol. Of the many forms of the 
Cross, the Latin, the Celtic, the Greek and 
the Maltese are those most generally 
seen. The shape of the "True Cross" was 
probably the Latin (or perhaps the "T") 
Cross, having the lower arm longer than 
the others.
Tau Cross - 
This form of 
cross 
(resembling 
the Greek 
letter Tau) 
predates the 
Latin cross. 
Greek 
Cross - All 
arms are 
of equal 
length. 
Latin Cross - 
The most 
common 
depiction of a 
Christian 
cross in 
modern times. 
St. Peter’s 
Cross 
-Representing 
St. Peter’s 
upside-down 
crucifixion.
Catacomb Painting: Good Shepherd, Orants, and the Story of Jonah 
4th century AD, Rome
Good Shepherd, 
marble statue, 
3rd century 
19 ¾” H 16” W
Early Christian Architecture 
• The invention of the Christian church was one of the brilliant-- 
perhaps the most brilliant--solutions in architectural history. This 
was achieved by a process of assimilating and rejecting various 
precedents, such as the Greek temple, the Roman public building, 
the private Roman house, and the synagogue. 
• The Early Christian period saw the growth of Christianity, effectively 
an underground Eastern mystery cult during the first three centuries 
AD. It was established as the state religion of the Empire under the 
successors of Constantine. Ecclesiastical administration set up 
within the framework of the Roman Empire. 
• Little change in social and economic order. Gradual split between 
Eastern and Western Empire in state and church. Political and 
economic breakdown of the West, ending in barbarian invasions.
• Early Christian Architecture: basilical church developed 
from Roman secular basilica; centralized type from 
Roman tombs. Basilical plan modified for liturgical 
requirements; congregation and clergy segregated in 
nave and aisles vs. transept and apse. Different variants 
in East and West. 
• In Rome, classical marble wall membering and 
vocabulary, and emphasis on massive wall, gradually 
replaced by broad, flat surfaces, evenly lighted; plain 
brick exteriors; mosaic bands of interiors. Long planes 
with little articulation, either horizontal or vertical. 
•
Baptistry in Christian House, Dura Europos, miracles of 
Jesus, Dura Europos, 3rd century AD., Syria.
• Following the Edict of Milan in 313 Constantine 
began an extensive building program to provide 
churches and meeting places for Christians. 
Previously they met in private homes that had 
rooms for worship. 
The first Christian churches used Roman 
structural and design elements. 
The basilica evolved into the essential design for 
the church that is still used today.
Basilica Plan Churches
Central Plan Churches
Reconstruction drawing of St. Peter’s, Rome c. 333-390 
AD right: interior view of St Paul outside the Walls, Rome 
c. 385 AD.
Old St. Peter's, Rome, c. 330, AD.
Santa Sabina, Rome, c. 422-432 AD.
Interior of Santa Sabina, Rome
CHURCH OF SANTA SABINA : Doors 
Panel 17: Elijah taken to Heaven
Plan of Santa Costanza, brick, c. 350 CE, Rome right: 
interior view of Santa Costanza.
Santa Constanza, 
Rome c. 350 AD. 
Second type of ancient 
building – the Tholos. 
A round structure with 
a central plan.
Harvesting of Grapes, mosaic in the 
ambulatory vault, Church of Santa Costanza
Mausoleum of Galla Placidia, Ravenna, Italy, c. 425-26 AD.
• “Built between 425 and 433, this small mausoleum 
adopts a cruciform plan, and the crossing is covered by 
a dome. On the outside, the architect simply juxtaposed 
masses. However, in contrast to Romanesque 
architecture, the mausoleum walls give the impression of 
being simple partitions designed to mark off the interior 
spaces. Blind arcades are its only decoration. The inside 
is relatively small and extremely simple. The mausoleum 
was intended from the very start to be covered with 
mosaics, and these are the oldest in Ravenna. The 
principal scene depicts the martyrdom of St. Lawrence at 
the moment when the saint approaches the red-hot 
gridiron. The other niche represents the Good Shepherd, 
and on the upper walls are the apostles.”
Chapters 7,8,14,15, 17 & 16
Martyrdom of Saint Lawrence, lunette mosaic, Mausoleum 
of Galla Placidia, Ravenna, Italy, c. 425-26 AD.
Good Shepherd, lunette mosaic, Mausoleum of Galla 
Placidia, Ravenna, Italy, c. 425-26 AD.
Bookcase with the 
Gospels in codex form 
– Detail of a mosaic in 
the eastern lunette, 
Mausoleum of Galla 
Placidia
Baptism of Christ, 
with Twelve Saints; 
dome mosaic, 
Baptistry of the 
Orthodox (Neonian 
Baptistery), 
mid-5th century A.D.
Sarcophagus of Junius Bassus. c. 359 A.D.
Detail from the 
Sarcophagus of 
Junius Bassus. 
c. 359 A.D.
Early Byzantine art: 
The First Golden Age 
• The style of the Eastern Empire (called Byzantine) 
begins with the re-naming of the capital and continues in 
some parts of Europe and Russia well into the 15th 
century A.D. Architecturally, the Byzantine style is 
distinguished by an emphasis on centrally planned, 
domed structures such as San Vitale. San Vitale is 
located in Ravenna, a major Byzantine outpost in Italy. It 
is a particularly good example of the style's mystical, 
surging spaces: chapels seem carved out of the 
radiating aisle, and the plan is a complex octagon-within-an- 
octagon shape. This church dates to the first great 
flowering of Byzantine art, the First Golden Age, when 
the Emperor Justinian ruled from Constantinople.
Isidore of Miletus: Hagia Sofia exterior, cross section, and plan
Chapters 7,8,14,15, 17 & 16
Cathedral built at Constantinople (now Istanbul, Turkey) under the direction of 
the Byzantine emperor Justinian I
Chapters 7,8,14,15, 17 & 16
The Dome 
• It was not always possible to have a 
cylindrical base to support a dome. To 
support a dome on a square base arches 
could be built to bridge the corners and 
create an octagonal base. These were 
called squinches. An even more elaborate 
system of transferring the thrust of a dome 
to four points was to employ segments of 
vaults which are called pendentives.
Chapters 7,8,14,15, 17 & 16
Plan, The Church of San Vitale, Ravenna, 530-547
The Church of San Vitale, Ravenna, 530-547
The Church of San Vitale, 
Ravenna, 530-547 
The Lamb of God supported 
by Angels, 546-548, dome 
apse mosaic, Church of San 
Vitale, Ravenna, 530-547
San Vitale, aerial view, apse nearest viewer
Justinian and his Retinue, 546-548, mosaic, north wall 
of the apse, Church of San Vitale, Ravenna, 530-547
Theodora and her retinue, 546-548, mosaic, south wall 
of the apse, Church of San Vitale, Ravenna, 530-547
Apse mosaic of St. Appolinaris and Transfiguration of 
Christ, Sant’Apollinare in Classe, ca. 550
The Archangel Michael 
Right leaf of a diptych, early 
sixth century. Ivory, approx. 
17" X 151/2" 
Constantinople, ca. 500 
A.D. An ivory panel 
depicting Saint Michael the 
Archangel
Rebekah at the Wall 
and Abraham's 
Servant, page 13, The 
Vienna Genesis, 6th 
cent.
Detail of The Vienna Genesis
Illumination from the Rabbula Gospels 
Syriac, AD 586, 33x26.7 cm.
Icon 
Virgin and Child with 
Saints and Angels 
encaustic on wood 
from St. Catherine’s 
Monastery, Sinai, Egypt 
late sixth century
Middle Byzantine Art 
• The resolution of the Iconoclastic 
controversy in favor of the use of icons 
ushered in a second flowering of the 
empire, the Middle Byzantine period (843– 
1261). The arts flourished, Greek became 
the dominant official language, and 
Christianity spread from Constantinople 
throughout the Slavic lands to the north.
• In 1204, Crusaders from western Europe 
took Constantinople, founding the Latin 
Empire, which lasted until 1261, when 
Byzantine rule was reestablished. The 
final great artistic flowering that followed 
lasted until Constantinople fell to the 
Ottoman Turks in 1453, more than 1,100 
years after its founding. Long after its fall, 
Byzantium set a standard for luxury, 
beauty, and learning that inspired both the 
Latin West and the Islamic East.
Icon 
Our Lady of Vladimir 
Egg Tempera on Wood Panel 
12th century Byzantine faces, 
with later restorations 
45 x 27 in
Icons and Iconoclasm 
• The term icon comes from the Greek 
eikon, which means "image" or "likeness." 
In a religious context, it refers to some 
image or representation of important 
religious figures, but especially divine or 
semi-divine figures. Often, these images 
are venerated in some fashion.
The Iconoclastic Controversy 
• Occurred between the mid-8th century and the 
mid-9th century in the Byzantine Christian 
Church over the question of whether or not 
Christians should continue to revere icons. Most 
unsophisticated believers tended to revere icons 
(thus they were called iconodules), but many 
political and religious leaders wanted to have 
them smashed because they believed that 
venerating icons was a form of idolatry (they 
were called iconoclasts).
• The controversy was inaugurated in 726 when 
Byzantine Emperor Leo III commanded that the 
image of Christ be taken down from the Chalke 
gate of the imperial palace. After much debate 
and controversy, the veneration of icons was 
official restored and sanctioned during a council 
meeting in Nicaea in 787. However, conditions 
were put on their use - they had to be painted 
flat with no features which stood out. Down 
through today icons play an important role in the 
Eastern Orthodox Church, serving as "windows" 
to heaven.
• One result of this conflict was that 
theologians developed the distinction 
between veneration and reverence 
(proskynesis) which was paid to icons and 
other religious figures, and adoration 
(latreia), which was owed to God alone. 
Another was bringing the term iconoclasm 
into currency, now used for any attempt to 
attack popular figures or icons (outside of 
the strict religious sense of the word).
Saint Sophia 
Cathedral in Kiev, 
1037 - 46
Saint Sophia Cathedral in Kiev, 
1037 - 46 
St. Nicholas Cathedral, Chicago, Illinois
Hosios Loukas Monastery: Phocis, Greece, c.1020 - 1040.
Hosios Loukas 
Monastery: Phocis, 
Greece, c.1020 - 1040. 
Interior
The Crucifixion, 
Church of the 
Dormition, Daphni. c. 
1090-1100
Interior of St. Mark's 
Basilica, Venice. begun 
1063
Objects of Veneration and Devotion 
• During the second Byzantine golden age, 
artists of great talent and high aesthetic 
sensibility produced small luxury items of 
a personal nature for members of the 
court as well as for the church.
The Harbaville Triptych. Late 10th Century. Ivory
Multiple – dome church plans 
• Domed Greek 
Cross 
• Greek Cross 
domes over 
square plan 
• Quincunx domes 
over square plan 
• Expanded 
quincunx
Chapters 7,8,14,15, 17 & 16
Interior of St. Mark's 
Basilica in Venice, Italy
Domed Greek Cross Greek Cross domes 
over square plan 
Expanded quincunx
The Palatine Chapel (Italian: 
Cappella Palatina) is the royal 
chapel of the Norman kings of 
Sicily situated on the ground 
floor at the center of the Palazzo 
Reale in Palermo. 
The chapel was commissioned 
by Roger II of Sicily in 1132. It 
took eight years to build and 
many more to decorate with 
mosaics and fine art. The 
sanctuary, dedicated to Saint 
Peter, is reminiscent of a domed 
basilica. It has three apses, as is 
usual in Byzantine architecture, 
with six pointed arches (three on 
each side of the central nave) 
resting on recycled classical 
columns.
Marble and mosaic 
decoration in the Chamber of 
King Roger, Palazzo 
Normano, Palermo, 1154-66.
The late Byzantine period (1204– 
1453) 
• Quite a number of buildings from the 
late Byzantine period survive in 
Istanbul, Thessaloníki, and throughout 
Greece and the Balkans. In general they 
are on a small scale and follow the plan 
of those of the middle Byzantine 
period.
Paracclesion of the 
church of the 
Monastery of the 
Savior in Chora
Icon 
Archangel Michael 
silver gilt with enamel 
and gemstones 
late 10th or early 11th 
century 
Michael is one of the 
principal angels in 
Abrahamic tradition; his 
name was said to have 
been the war-cry of the 
angels in the battle fought 
in heaven against Satan 
and his followers.
• The name of the church, "in Chora" means "in 
the country" because the very ancient 
monastery to which it was attached was outside 
the walls of the Constantinian city; later when it 
was included within the Theodosian walls, the 
name remained the Holy Savior of Chora. The 
mosaics and frescoes are by far the most 
important and extensive series of Byzantine 
paintings in the city and among the best and 
most beautiful in the world.
Fresco of the Resurrection (Anastasis) in the Church in Chora
The Old Testament 
Trinity Prefiguring the 
Incarnation" by 
Andrei Rublev, 
c.1410, is painted on 
wood, 56" X 45". 
This late Byzantine 
style can be seen in 
the art of the west in 
late Gothic and early 
Renaissance painting.
Islamic Art 
Chapter 8
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
The Kaaba is the "cubic" 
shrine in Mecca, the 
center of Islamic worship 
and the holiest place in 
Islam. ("Kaaba" means 
"cube" in Arabic.) It was 
originally a shrine built by 
Abraham devoted to the 
one God, about 2000 
B.C.
Chapters 7,8,14,15, 17 & 16
• Muslims pray five times a day facing the Kaaba 
in Mecca, and if they are able, they will make a 
Pilgrimage, or "hajj", there at least once in their 
lives. 
• At the time before Islam, the Kaaba was used to 
house about 360 idols for the various tribes of 
Arabia. The Prophet Muhammad was against 
idol worship and preached that there was one 
God (Allah). This started the hostilities against 
him and his followers. After leaving Mecca and 
going to Medina, the Prophet Muhammad and 
his followers finally returned triumphantly into 
Mecca. There the Muslims destroyed the idols 
and rededicated the Kaaba to the one God.
Dome of the Rock 
• This is the oldest Muslim building which has survived 
basically intact in its original form. It was built by the 
Caliph Abd al-Malik and completed in 691 CE. The 
building encloses a huge rock located at its center, from 
which, according to tradition, the Prophet Muhammad 
ascended to heaven at the end of his Night Journey. In 
the Jewish tradition this is the Foundation Stone, the 
symbolic foundation upon which the world was created, 
and the place of the Binding of Isaac. The Caliph Omar 
is said to have cleared the waste which had accumulated 
on the rock during the Byzantine period. The structure is 
octagonal and the dome is borne by a double system of 
pillars and columns. The walls, ceiling, arches, and 
vaults are decorated with floral images. The dome, on 
the inside, is covered with colored and gilded stucco.
Dome of the Rock
Cross section of the Dome of the Rock (Tower 
of David Museum)
Dome of the Rock 
Interior
Dome of the Rock 
• The plot of land on the elevated stone platform known as Haram 
Ash-Sharif on Temple Mount upon which sits the Dome of the Rock 
is sacred to three of the world's major monotheistic religions: 
Judaism, Christianity, and Islam. 
• The site was first consecrated by the Israelites of Exodus. Later, 
according to Jewish tradition, Abraham prepared to sacrifice his son 
Isaac upon a rock that protruded from the centre of the platform. 
Later still, upon the same platform, Solomon erected his temple. 
• For Christians, in addition to the Old Testament Jewish 
associations, the Temple Mount was revered because of its place in 
the life and ministries of Jesus Christ. 
• For Moslems, the rock was sanctified by the story of the Prophet 
Mohammed's Miraaj or Night Journey to Jerusalem and back to 
Mecca (Qur'an 17:1). From the top of the rock, Mohammed began 
his ascent to Heaven.
Detail from 
Frieze, Façade 
of the Palace at 
Mshatta
• Islamic belief in Aniconism and the 
doctrine of unity (al-twahid) demanded a 
rich vocabulary of abstract, geometric 
forms that translated into the architecture 
of mosques. 
• Artists reiterated these forms in complex 
decoration that covered the surface of 
every work of art from large buildings, to 
rugs, paintings and small sacred objects.
Jordan, 
Mshatta 
Palace, c. 750, 
Plan
Plan of Typical, Early Islamic Mosque 
The numbers below correspond to the 
circled numbers to the right. 
1. Qibla wall. 
2. Mihrab niche. 
3. Hypostyle hall. 
4. Courtyard (or "sahn"). 
5. Minaret.
The Great Mosque, Kairouan, Tunisia, 836 - 875
The Great Mosque , Cordoba 
(785-786) 
The double horseshoe 
arcades of the prayer-hall
Dome of the great mosque of Cordoba, 965
Arches and Muqarnas 
Horseshoe Arches 
Tiled Moorish style Arches in Seville Palace, 
Reales Alcazares.
Pointed arch
Muqarnas is the Arabic word for stalactite vault, an architectural ornament 
developed around the middle of the tenth century in north eastern Iran 
and almost simultaneously, but apparently independently, in central North 
Africa.
Page from Koran in kufic script, from Syria. Ink, pigments, 
and gold on vellum, 9th century
Leaf from a Qur’an 
manuscript 
Ahmad ibn al- 
Suhravardi al-Bakri, 
calligrapher 
Muhammad ibn 
Aybak, illuminator 
Baghdad, Iraq 
Ilkhanid, 1307–1308 
Ink, colors, and gold 
on paper; 20 3/16 x 
14 1/2 in. (51.3 x 
36.8cm)
The most complete 
documentation of Samanid 
art is to be found in its 
ceramics, and during the 9th 
century, the wares of 
Transoxiana were very 
popular throughout the 
eastern provinces of Persia. 
The best-known and most 
refined pottery of this 
Samarkand type is that 
bearing large inscriptions in 
Kufic (the earliest version of 
Arabic script used in the 
Koran, named after the city 
Kufa in Iraq) painted in black 
on a white background.
Part of the St. Josse silk, Khorasan 10th century. 
The inscription wishes 'glory and prosperity to Abu Mansur 
Bukhtegin, may God prolong (His favours to him?)'.
Mosque lamps 
• Throughout the Islamic world, mosques 
and other religious structures were 
frequently illuminated with oil lamps 
suspended from the rafters or ceiling. 
During the fourteenth century, hundreds of 
such lamps were commissioned by the 
powerful Mamluk ruler and patron of the 
arts, Sultan Hasan (reigned 1344–51 and 
1354–61), for his vast religious complex in 
Cairo.
• These mosque lamps were elaborately 
decorated with paint, gilt, and enamel, and 
often included the sultan's name as 
symbolic representations of a specific 
Koranic verse (sura 24, verse 35), known 
as the Light verse, which encircles the tall 
neck of the lamp. 
• They provided light by means of a wick 
placed in a container of oil within the lamp.
Egypt, Mamuk dynasty, about 1350-5 glass, enameled and gilded
• The lamps are also decorated with a bold 
inscription frieze containing the name and 
titles of Sayf al-Din Shaykhu al-Nasiri, an 
important patron of art and architecture in 
Cairo. His heraldic device incorporating a 
red cup appears in the centre of the 
roundels on the neck and the underside of 
the lamp.
Isfahan is already a city of 
ancient history and 
considerable wealth when 
Shah Abbas decides, in 1598, 
to turn it into a magnificent 
capital. It has a Masjid-i-Jami, 
or Friday Mosque, dating from 
the Seljuk period (11th-12th 
century), still surviving today 
and noted for its fine 
patterned brickwork. And it 
has a thriving school of 
craftsmen skilled in the 
making of polychrome 
ceramic tiles.
Islamic Terms 
• Mihrab - A mihrab is a niche in the wall which 
points the worshipers toward Mecca. 
• Minbar - A minbar is a "pulpit", or a place from 
which a religious leader (an "imam") speaks to 
the people. It looks something like a staircase. 
• Minarets - Minarets are towers of a mosque. 
From the minaret a person (a "muezzin") calls 
people to prayer five times a day.
Mihrab 
Isfahan, Iran 
Ilkhanid, 1354 
Mosaic of 
monochrome-glaze 
tiles on composite 
body set on plaster; 
135 1/16 x 113 
11/16 in.
Egypt, Cairo, Mihrab and Minbar of the Mosque of Sultan Hasan, 1356- 
1360. This liwan, or niche is the side of the mosque used as a madrasa by 
the Shafi, one of the four schools of Islamic legal and theological thought.
Alhambra-Court of Lions
Five Pillars of Islam 
Art and Context 
• The Five Pillars of Islam are core beliefs 
that shape Muslim thought, deed, and 
society. A Muslim who fulfills the Five 
Pillars of Islam, remains in the faith of 
Islam, and sincerely repents of his sins, 
will make it to Jannah (paradise). If he 
performs the Five Pillars but does not 
remain in the faith, he will not be saved.
The First Pillar 
• Shahada 
• The Shahada is the Islamic proclamation that "There is 
no true God except Allah and Muhammad is the 
Messenger of Allah." 
• This is the confession that Allah is the one and only true 
God, that Allah alone is worthy of worship, that Allah 
alone is the sovereign lord who does what he wills with 
whoever he wills. It means that all his rules and laws 
found in the Koran are to be followed. It means that the 
Christian doctrine of God as a Trinity is false as are all 
other belief systems including pantheism. 
• Muhammad is the true and greatest prophet of Allah and 
recognition of Muhammad as the Prophet of God is 
required. It was through Muhammad that Allah conveyed 
the last and final revelation.
The Second Pillar 
• Prayer (Salat) 
• Prayer involves confession of sins which begins 
with the purification of the body and ends with 
the purification of the soul. Prayer is performed 
five times a day. The first prayer is at dawn and 
the last at sunset. 
• The names of the prayers are Fajr, Dhuhr, Asr, 
Maghrib, Isha. The Maghrib prayer is the sunset 
prayer. Isha is the prayer that is said after 
sunset. There is also a prayer that is said right 
after Fajr known as Shurooq.
Prayer (Salat)
Third Pillar 
• Fasting (Saum) 
• The month of Ramadan is the month of 
fasting in Islam. It is an act of worship 
where the faithful follower denies his own 
needs and seeks Allah. Usually, this 
fasting entails no drinking or eating during 
the daylight hours for the entire month of 
Ramadan.
Fourth Pillar 
• Alms-giving or charity (Zakat) 
• Charity given to the poor. It benefits the 
poor and it helps the giver by moving him 
towards more holiness and submission to 
Allah. Alms-giving is considered a form of 
worship to God.
Fifth Pillar 
• Pilgrimage (Hajj) 
• This is the pilgrimage to Mecca. All 
Muslims, if they are able, are to make a 
pilgrimage to Mecca. It involves financial 
sacrifice and is an act of worship. 
Muslims must make the pilgrimage the 
first half of the last month of the lunar year
Muqarnas dome, Hall of the Abencerrajes, 
Palace of the Lions, built between 1354 - 1391
Portable Arts 
• Metal Work – inherited skills of the Roman 
and Byzantine craftsmen 
• Ceramics – development of lustrous 
metallic surface 
• Textiles – traditional silk weaving passed 
from Persian to Islamic artisans
Griffin. 
Fatimid, (Egyptian), Islamic 
11th century
Pen box, 13th century 
Western Iran or northern Iraq (al-Jazira) 
Brass inlaid with gold and silver; H. 1 5/8 in. (4.1 cm), L. 8 3/4 
in. (22.2 cm)
• Muslim metalworkers produced large numbers 
of pen boxes, many of which were richly 
decorated with inlays of gold, silver, and copper. 
A typical medieval Islamic calligrapher's pen box 
is an elongated rectangular object with rounded 
corners, about ten inches long, three inches 
wide, and two inches tall. In its simple 
construction, it is composed of a main body and 
a lid with two hinges along one of the long sides 
and a clasp on the opposite side. The interior 
includes a receptacle to hold the inkwell in one 
corner while the remaining space is reserved for 
a variety of reed pens and penknives.
The Macy Jug, from Iran, 
1215 – 16 
Composite body glazed, 
painted fritware* and 
incised with pierced outer 
shell. 6 5/8” x 7 ¼” 
*a flux that is stabilized by melting 
it with silica and regrinding it into a 
fine powder
Muslim Tapestry preserved 
in the Monastery of the 
Royal Strikes Burgos. It is 
called "banner of Navas de 
Tolosa," because it was 
taken by King Alfonso VIII of 
Castile the Almohad ben 
Muhammad Yaqub. Very 
richly decorated, upper and 
lower bands bearing phrases 
written religious significance. 
To the sides, the scripts are 
made so that they can be 
read by the setback of the 
tapestry. In the center, a star 
with eight points evolves in 
different ways to death in a 
circle, according to Muslim 
taste for geometry. The 
predominant colors red and 
gold.
Medallion rug with a 
field of flowers, 17th 
century; Safavid 
Probably Kirman, Iran 
Wool pile on cotton, 
wool, and silk 
foundation; 81 x 56 in. 
(205.7 x 142.4 cm)
Textiles 
• Roses, hyacinths, narcissi, campanula, irises, 
carnations, and lilies are among the many types of 
flowers that blossom in the field and borders of this 
carpet, which is generally attributed to the seventeenth-century 
production of Kirman, Iran. The flora are 
arranged symmetrically in pattern and color around a 
central octagonal medallion and four quarter medallions 
in the corners. The art of illumination, especially that of 
book covers, might have provided the inspiration for the 
central and corner medallion design, which was woven 
into so many Persian carpets. The decorative theme of 
the medallion has Central Asian roots and was known in 
the Timurid period, but its popularity greatly increased 
during the rule of the Safavids and beyond.
Carpet Making 
• Making knotted carpets were surely 
regarded as a tradition in ancient Persia 
like in today. The oldest piece of rug in the 
world is an Iranian knotted one called 
Pazyrik (named after an area where it has 
been discovered in a frozen tomb in 
Southern Siberia). It dates back to 400- 
300 B.C.
Chapters 7,8,14,15, 17 & 16
• Iranian carpets consist of warp, weft, silk 
pile, wool, cotton or fuzz knotted with weft 
forming the flesh of carpets. In different 
parts of Iran, carpet makers created their 
own styles and schools. Techniques were 
sometimes different from tribe to tribe or 
city to city.
Chapters 7,8,14,15, 17 & 16
• Plain flat-weave or kilim weave implies a 
tapestry-like flat woven structure. The 
coloured woollen threads forming the 
motifs are interwoven across the warps, 
not from edge to edge, but only where the 
pattern and colour make it necessary. The 
result is a thinner, soft yet hardy reversible 
tapestry-like weave.
Symmetrical Knot, used extensively in Iran
Asymmetrical knot used extensively in Turkey
Manuscripts and painting 
• Calligraphy is the most highly regarded and most 
fundamental element of Islamic art. It is significant that 
the Qur’an, the book of God's revelations to the Prophet 
Muhammad, was transmitted in Arabic, and that inherent 
within the Arabic script is the potential for developing a 
variety of ornamental forms. The employment of 
calligraphy as ornament had a definite aesthetic appeal 
but often also included an underlying talismanic 
component. While most works of art had legible 
inscriptions, not all Muslims would have been able to 
read them. One should always keep in mind, however, 
that calligraphy is principally a means to transmit a text, 
albeit in a decorative form.
• Objects from different periods and regions vary in the 
use of calligraphy in their overall design, demonstrating 
the creative possibilities of calligraphy as ornament. In 
some cases, calligraphy is the dominant element in the 
decoration. In these examples, the artist exploits the 
inherent possibilities of the Arabic script to create writing 
as ornament. An entire word can give the impression of 
random brushstrokes, or a single letter can develop into 
a decorative knot. In other cases, highly esteemed 
calligraphic works on paper are themselves ornamented 
and enhanced by their decorative frames or 
backgrounds. Calligraphy can also become part of an 
overall ornamental program, clearly separated from the 
rest of the decoration. In some examples, calligraphy 
can be combined with vegetal scrolls on the same 
surface though often on different levels, creating an 
interplay of decorative elements.
• Consisting of, or generated from, such simple forms as 
the circle and the square, geometric patterns were 
combined, duplicated, interlaced, and arranged in 
intricate combinations, thus becoming one of the most 
distinguishing features of Islamic art. However, these 
complex patterns seem to embody a refusal to adhere 
strictly to the rules of geometry. As a matter of fact, 
geometric ornamentation in Islamic art suggests a 
remarkable amount of freedom; in its repetition and 
complexity, it offers the possibility of infinite growth and 
can accommodate the incorporation of other types of 
ornamentation as well. In terms of their abstractness, 
repetitive motifs, and symmetry, geometric patterns have 
much in common with the so-called arabesque style 
seen in many vegetal designs. Calligraphic 
ornamentation also appears in conjunction with 
geometric patterns.
• The four basic shapes, or "repeat units," 
from which the more complicated patterns 
are constructed are: circles and interlaced 
circles; squares or four-sided polygons; 
the ubiquitous star pattern, ultimately 
derived from squares and triangles 
inscribed in a circle; and multisided 
polygons. It is clear, however, that the 
complex patterns found on many objects 
include a number of different shapes and 
arrangements, allowing them to fit into 
more than one category
Leaf from a 
Qur’an, 1302–8; 
Ilkhanid 
Iraq (Baghdad) 
Ink, gold, and 
colors on paper; 
17 x 13 7/8 in. 
(43.2 x 35.2 cm)
• This illuminated page originally formed the right 
half of a double-page opening to a section of a 
Qur’an. It combines the three main Islamic types 
of nonfigural decoration: calligraphy, vegetal 
patterns, and geometric patterns. The vegetal 
patterns here are the classical scrolls utilized as 
the background to the calligraphy, within the 
compartments of the geometric interlace, and in 
the text frame and margin medallion. Two 
ground colors are used to introduce additional 
patterning.
The Ottoman Empire 
• The empire they built was the largest and most influential 
of the Muslim empires of the modern period, and their 
culture and military expansion crossed over into Europe. 
Not since the expansion of Islam into Spain in the eighth 
century had Islam seemed poised to establish a 
European presence as it did in the sixteenth and 
seventeenth centuries. Like that earlier expansion, the 
Ottomans established an empire over European territory 
and established Islamic traditions and culture that last to 
the current day (the Muslims in Bosnia are the last 
descendants of the Ottoman presence in Europe).
Chapters 7,8,14,15, 17 & 16
• The Ottoman empire lasted until the twentieth 
century. While historians like to talk about 
empires in terms of growth and decline, the 
Ottomans were a force to be reckoned with, 
militarily and culturally, right up until the break-up 
of the empire in the first decades of this 
century. The real end to the Ottoman culture 
came with the secularization of Turkey after 
World War II along European models of 
government. The transition to a secular state 
was not an easy one and its repercussions are 
still being felt in Turkish society today; 
nevertheless, secularization represents the real 
break with the Ottoman tradition and heritage.
The mosque was commissioned by 
Sultan Selim II and was built by 
architect Mimar Sinan between 
1568 and 1574. It was considered 
by Sinan to be his masterpiece and 
is one of the highest achievements 
of Islamic The Selimiye Mosque (Turkish: architecture. 
Selimiye Camii) is a mosque in 
the city of Edirne, Turkey.
Sinan 
(1489 -1588) 
• Prolific and brilliant master-architect of the 
Ottoman Empire, holding responsibilities for an 
enormous range of public works. One of his 
greatest buildings was the Süleymaniye Mosque 
in Istanbul (1550–7) which shows how much he 
had absorbed of Byzantine forms and 
construction, especially those of the Church of 
Hagia Sophia, but Sinan improved and 
rationalized the system of buttressing for the 
central dome, and clarified the subsidiary 
elements.
Interior, Mosque of Sultan Selim
Illuminated Manuscripts and Tugras 
• A peculiarly Ottoman Turkish 
phenomenon is the calligraphic "tughra" 
(handsign), unique to each sultan, which 
gives his name and titles and appears at 
the head of every firman (royal edict). The 
spectacularly bold calligraphy contrasts 
with the dense yet delicate flowering 
plants, arabesques, and floral scrolls.
Tughra of Sultan Sulaiman the Magnificent, 16th century; 
Ottoman period (c.1555-60) attributed to Istanbul, Turkey 
Ink, colors and gold on paper; H: 20 1/2 in. W: 25 3/8 in.
Chapter 14 
Early Medieval Art In Europe
• The term Middle Ages refers mainly to the 
history of Christian and Jewish Europe 
between the fall of Rome and the 
Renaissance, around 400-1500 AD. 
Historians usually divide this into three 
smaller periods, the Early Middle Ages, 
the High Middle Ages, and the Late Middle 
Ages.
Chapters 7,8,14,15, 17 & 16
The Visigoths 
• Also known as the Goths, were a barbaric 
tribe. Living on the delta of the Danube 
River, their kingdom was inherited by 
Alaric I.
Eagle Brooch Spain 
6th Century. Gilt, 
Bronze, crystal, 
garnets, and other 
gems. 5 1/2”
The Norse 
• The last great waves of European migrations began in 
the eighth century and picked up dramatically in the ninth 
and tenth centuries. This time it was a group of relatively 
sedentary Germanic tribes in the northernmost reaches 
of Europe, the Norsemen. These were really not one 
ethnic group, but an entire spectrum of peoples speaking 
many different languages. For all that, the principal 
Norsemen that raided and emigrated out of Northern 
Europe were Norwegians and Danish. Again, however, 
these are not single ethnic groups—the Danes, for 
instance, were an entire set of different peoples.
The Celts and Anglo-Saxons 
• Europe throughout most of the historical period was 
dominated by a single cultural group, a powerful, 
culturally diverse group of peoples, the Celts. By the 
start of the Middle Ages, the Celts had been struck on 
two fronts by two very powerful cultures, Rome in the 
south, and the Germans, who were derived from Celtic 
culture, from the north. 
• This monolithic culture spread from Ireland to Asia Minor 
(the Galatians of the New Testament). The Celts even 
sacked Rome in 390 BC and successfully invaded and 
sacked several Greek cities in 280 BC. Though the Celts 
were preliterate during most of the classical period, the 
Greeks and Romans discuss them with disdain.
• The Angle, Saxon, and Jute tribes who 
invaded Britain in the 5th and 6th 
centuries are known as the Anglo-Saxons. 
They left their homelands in northern 
Germany, Denmark and northern Holland 
and rowed across the North Sea in 
wooden boats.
Gummersmark 
brooch, Denmark. 
6th century. Silver 
gilt, height 5" (14.6 
cm). 
Nationalmuseet, 
Copenhagen
Purse cover, from the Sutton Hoo burial ship, Suffolk, 
England. c. 615 - 30. Cloisonné plaques of gold, garnet, 
and checked enamel, length 8" (20.3 cm). The British 
Museum, London.
Man (symbol of St 
Matthew), from Book of 
Durrow. c. 660-680
Chi Rho Iota page, 
Book of Matthew, 
Book of Kells. 
Tempera on velum, 
late 8th or early 9th 
century
Probably the earliest group of 
ringed high crosses, the Ossory 
group includes these two fine 
high crosses, the North and 
South Cross at Ahenny in Co 
Tipperary. Found at the 
monastic site of Kilclispeen 
these two crosses imitate the 
earlier wooden crosses which 
were encased with a metal 
binding, the stone bosses 
imitate the studs which would 
have covered the rivets that held 
the metal and wooden crosses 
together.
Left: Began by Maius of Escalade, finished by Emeterius, “Emeterius 
and Senior next to the Tower of Tabara,” Tabara Apocalypse, 970 
Right: Heavenly Jerusalem from the Morgan Beatus, ca. 940-945
Battle of the Bird and the 
Serpent, Commentary on 
the Apocalypse by Beatus 
and Commentary on 
Daniel by Jerome. 
Monastery of San 
Salvador at Tabara, Leon, 
Spain July 6, 975 
Tempera on Parchment 
15 ¾” x 10 ¼”
Charlemagne’s Palace 
• The creation of a "New Rome" was Charlemagne's guiding vision 
when he began the construction of the Palace Chapel in the former 
Roman spa resort Aachen (Aix-la-Chapelle) in ca. 786 - laying the 
foundation stone for one of Europe's oldest Northern stone buildings. 
The cathedral obtained its present shape in the course of more than a 
millennium. The core of the Aachen cathedral is the formerly 
mentioned Palace Chapel - at the time of its construction it was the 
largest church north of the Alps. Its fascinating architecture with 
Classical, Byzantine and Germanic-Franconian elements is the 
essence of a monumental building of greatest importance. It was 
modeled after the Church of San Vitale in Ravenna. For 600 years, 
from 936 to 1531, Aachen cathedral was the church of coronation for 
30 German kings. In order to bear the enormous flow of pilgrims in the 
Gothic period a choir hall was built: a two-part Capella vitrea (glass 
chapel) which was consecrated on the 600th day of Charlemagne's 
death.
Interior of the 
Palatine Chapel of 
Charlemagne, 
Aachen, Germany. 
792-805 
In 786-787 A.D. Pope 
Hadrian authorized 
Charlemagne to 
transport marble from 
Italy to Aachen. In 798, 
the precious ancient 
columns were erected in 
the church. The delivery 
of the relics in 799 / 800 
assured the completion 
of the building.
Cutaway view of the 
Palatine Chapel of 
Charlemagne, 
Aachen
Chapters 7,8,14,15, 17 & 16
Monastery church of 
St Riquier, Centula, 
France. c. 800
Schematic plan for monastery at St. Gall, Switzerland. c. 819
St. Matthew from 
the Coronation 
Gospels, 795-819 
A.D.
St Matthew, from the 
Ebbo Gospels. 
c. 816-835 ink and 
tempera on vellum, 10 
1/4 x 8 3/4"
Illustrations to Psalms 43 
and 44, from the Utrecht 
Psalter. c. 820 - 832
43:22 “Because for thy sake we are killed all the day long: we are 
counted as sheep for the slaughter”; 43:23: “Arise, why sleepest thou, 
O Lord?”; 43:25: “For our soul is humbled down to the dust: our belly 
cleaveth to the earth.”
Chapters 7,8,14,15, 17 & 16
Crucifixion, front 
cover of Lindau 
Gospels. c. 870 
Early Medieval 
(Carolingian) Gold, 
precious stones, and 
pearls, 1' 1 3/8" x 10 
3/8"
Viking Era 
• Nearly all Viking Age art is applied art, that 
is, the decoration of a wide variety of 
objects used in daily life. However, 
woodcarvers, sculptors and metalworkers 
brought a dynamism and inventiveness to 
their task which has left a rich legacy of 
extravagant animal ornament.
• Most of the finest surviving examples of 
art from the early Viking Age have been 
found in graves, especially on jewelry and 
weapons, while later Viking art is best 
represented on objects from silver hoards, 
from the developing towns and on the 
Scandinavian runestones. There are also 
small-scale carvings in other materials - 
amber, jet, bone, walrus ivory and, where 
it survives, wood - which remind us both of 
the skills of the Scandinavian craftsmen 
and of how well suited Viking Age animal 
motifs were to their purpose.
Oseberg ship of Oseberg ship-burial. 1st half 9th century
Gripping Beasts, 
Detail of Oseberg 
Ship 
c. 815 - 820
Royal Rune Stone, Ordered by King Harald Bluetooth 
Jelling, Denmark. 983 – 985. Granite height about 8’
Carved as 
memorials to King 
Gorm "the Old" 
and Queen Thyri, 
over a thousand 
years ago, these 
two stones stand 
in the yard of a 
Romanesque 
church in Jelling, 
Denmark, an old 
Viking royal site. 
One of the stones, 
the smaller one, is 
considered to be 
the birth 
certificate of 
Denmark. 
Inscribed in Old Norse, Younger Futhark, a form of Germanic Celtic Ogham, 
the oldest of the Rune Stones was raised by the first King of all of Danmark, 
King Gorm the Old, in memory of his wife Thyra (Thyrvé) who he referred to 
as Denmark's Salvation.
The largest of the Rune Stones was raised by 
the son of King Gorm and Queen Thyra, 
Harald Bluetooth, in their memory. It 
celebrates the union of Danmark and 
Norway; as well as, the offspring of their 
Sangreal Christ Lineage. The Danes were 
followers of the true teachings of Christ 
under the auspices of Apostle Mary 
Magdalene, and the Gospel according to 
Mary; rather than, the teachings of Apostle 
Peter and the prevailing by brute force 
Christian doctrine of the times.
• Originally painted in bright colours, 
one side of the largest Rune Stone had 
a figure of Christ. The other side of the 
Rune Stone had the image of a snake 
(DNA Spiral, Genetic Coded Bloodline) 
entwined about a lion (Symbol of Ra 
Royalty). A symbolic code left behind 
for the discerning that King Gorm and 
Queen Thyra were of Sangreal Lineage 
of the royal bloodline of Jesus The 
Christ and his companion wife Mary of 
Magdalene.
Viking History 
• Seafaring bands of Norse seamen known 
as Vikings (Viken, “people from the 
coves”) descended on the rest of Europe. 
Frequently their targets were wealthy 
isolated Christian monasteries. 
• The Viking Leif Eriksson reached North 
America in 1000. In good weather a Viking 
ship could sail 200 miles in a day.
There are 28 stave 
churches left standing 
in Norway, dating from 
c.1130 and onwards, 
with elements of older 
origin. What we see are 
the structural 
consequences of the 
builders' actions
The north portal of 
the Urnes stave 
church (11th cent.): 
"The intertwined 
snakes and 
dragons represent 
the end of the world 
according to the 
Norse legend of 
Ragnarök".
Built just before 1150, and 
dedicated to the Apostle St. 
Andrew. It is one of the best 
preserved stave churches and it 
has not been added or rebuilt 
since it was new. The pulpit is 
from the last period of the 
1500’s. The altar-piece is from 
1620. 
On the church walls are found 
several runic inscriptions. Two 
of them are dated back to the 
middle of the 1100’s. They read: 
"Tor wrote these runes in the 
evening at the St. Olav’s Mass" 
and "Ave Maria" 
BORGUND STAVE CHURCH
Ottonian Europe 
• Otto I or the Great is considered by many 
historians to be the founder of the Holy 
Roman Empire. He was an effective 
military warrior who encouraged military 
expansion, colonization, and missionary 
activity eastward into the Slavic world. His 
campaign was to restore kingship on the 
Carolingian model.
• Succeeding his father Henry I as the Duke of Saxony in 
936, his military genius was tested early. Otto I faced 
the continuous raids and sieges of the dukes, the Ducal 
Rebellions, which were led by his brother Henry of 
Bavaria. The war was the result of him acquiring an 
increasing amount of power that others resented. It 
ended with Otto's victory in 941 in which he replaced the 
rebellious dukes with his own relatives, thus compelling 
them to accept royal over lordship. In 951, he 
commanded a successful invasion of Italy and declared 
himself King. Magyars invaded the empire in 954, and 
this invasion forced the nobility to reunite with Otto in 
order to defend themselves. He was able to defeat the 
Magyars in the battle of Lechfield in 955 and this 
temporarily restored peace throughout his empire.
• In order to unify and control the major 
territories of Germany, he established the 
Church-State Alliance; this strengthened 
his power and decreased the power of the 
duchies. He gave large grants of royal 
land to bishops and abbots, who became 
his royal vassals and were obligated to 
provide him with military and political 
services. It was successful for both the 
Church and the State because it had 
church officials ruling the land, but allowed 
Otto the power to appoint them.
• Otto was crowned Roman Emperor in 962 by 
Pope John XII, the same office Charlemagne 
held in 800. Pope John XII eventually turned 
against Otto and his increasing power, so the 
papacy was taken away from him. Otto then 
imposed the rule that no pope could be elected 
without the approval of the emperor. This 
proclamation opened an era of German 
domination of the papacy and, in effect, made 
him the head of the Christian community. 
• Otto died in 973 and was succeeded by his son 
Otto II. His policies continued with success until 
1056. Many people believe that Otto revived the 
Roman Empire and consider him one of the 
greatest Saxon rulers.
Chapters 7,8,14,15, 17 & 16
Ottonian Architecture 
• Near Quedlinburg in Gernrode stands the only 
almost entirely preserved church from the early 
Ottonian period, the Collegiate Church of St. 
Cyriakus. The decorations that the master 
masons of the Romanesque created here are 
still unparalleled. Even though almost no right 
angles were used in the architecture of the 
church it has still survived for over thousand 
years.
Church of Saint Cyriakus 
Gernrode, Germany 
961-973
Nave, Church of 
Saint Cyriakus
Doors of Biship Bernward 
Made for the Abbey Church of 
St. Michael, Hildesheim, 
Germany
Chapters 7,8,14,15, 17 & 16
Bronze doors of St. 
Michael’s 
Story of Adam and 
Eve and Life of Christ
Ottonian Sculpture 
• The Gero Cross reintroduced into Western sculpture the 
modeled-in-the-round technique that had practically 
disappeared after the Classical period. The crucifix has 
a monumental scale of 6’2”. It demonstrated the deep 
suffering of Christ. What is striking about this image is 
the note of emotionalism and naturalism that is seen in 
the forward bulge of the body that shows the physical 
strain on the arms and shoulders. The face expresses 
the agony that was felt before death, but is now left 
lifeless. The horror of the martyr’s tortured death is 
exposed. Archbishop Gero presented the crucifix to the 
Cathedral. It functions as both sculpture and a reliquary, 
where the Eucharist is held in a receptacle in the head.
Gero Crucifix 
Cologne (Köln) 
Cathedral, Germany 
ca. 970 
Painted and gilded 
wood
Ottonian Sculpture 
• Ottonian religious sculpture is monumental in scale and 
executed with clear, round forms and highly expressive 
facial features. The wooden Gero Crucifix (969-76; 
Cologne Cathedral) reflects a humanitarian concern for 
the sufferings of Jesus. Sophisticated relief bronzes 
were cast for the cathedral doors at Hildesheim (1015). 
Ottonian manuscript illumination was superbly 
developed; produced at several flourishing artistic 
centers, including Regensburg and Fulda, it combined 
Carolingian and Byzantine influences. Manuscripts such 
as the Gospel Book of Otto II are two-dimensional, 
figural, and linear, incorporating much gold leaf.
Page with Otto III enthroned, 
Liuthar Gospels (Aachen 
Gospels) Germany, c. 997-1000. 
Ink, gold, and 
Tempera on vellum, 11" X 8 ½".
• From the so-called Aachen Gospels made for 
Otto III about the year 996. Otto III was the heir 
to the Ottonian dynasty. The Ottonians were 
heirs to the Carolingians. In the tenth century the 
Ottonians revived the disintegrated Holy Roman 
Empire. The dominion of the Ottonians was not 
as extensive as the Carolingians. Their 
territories included Germany and northern Italy. 
Like the image from the Codex Aureus, this 
image is based on the Book of Revelation. The 
central figure here is Otto who is in the guise of 
Christ. In a detail not shown in the Codex 
Aureus image, the Revelation passage 
describes that the Lamb appeared surrounded 
by Four Beasts.
Romanesque Art 
Chapter 15
ROMANESQUE EUROPE 
(c. 1000-1200) 
• Romanesque appears to have been the first 
pan-European style since Roman Imperial 
Architecture and examples are found in every 
part of the continent. One important fact pointed 
out by the stylistic similarity of buildings across 
Europe is the relative mobility of medieval 
people. Contrary to many modern ideas of life 
before the Industrial Revolution, merchants, 
nobles, knights, artisans, and peasants crossed 
Europe and the Mediterranean world for 
business, war, and religious pilgrimages, 
carrying their knowledge of what buildings in 
different places looked like.
Monastery of Santo 
Domingo de Silos, Spain. 
Capitol detail 
c. 1100
• The Romanesque was not confined only to architecture. 
It was accompanied by changes in design for 
woodworking seen, for instance in, chests and 
cupboards. The exterior of the book changes at this time, 
and as does manuscript design as scribes start to use a 
new clear style of writing (Caroline minuscule). Texts are 
set among intricate spirals and elaborate and finely-drawn 
nature motifs. This became an international 
graphic style, influencing even Jewish illuminated 
manuscripts. In western painting, mosaic and fresco 
design, from around 1150 a spirit emerged across 
Europe. This attempted to revive the styles of the art of 
classical antiquity, and yet it also drew heavily on ancient 
Christian Celtic and Byzantine arts.
The Main Characteristics 
of the Style 
• A combination of masonry, arch and piers is the 
basis of the Romanesque style. The main 
concept for buildings was the addition of pure 
geometrical forms. The new concept of stone 
vaulting required stronger walls for support. 
Because of the lack of knowledge of the building 
statics it was necessary to build strong, thick 
walls with narrow openings.
• The Pier (an upright support generally square, or 
rectangular in plan) is a better solution for masonry 
walls, than the column. Columns are subsequently 
replaced by piers, or transformed to better support the 
masonry arches. Geometrisation and rigidity in 
Romanesque architecture is evident in the 
transformation of column capitals from Corinthian to 
cubic capitals, as found in the church of St.Michael, 
Hildesheim. There is also one new element in the 
capitals developed during Romanesque period - the 
impost. It's a trapezoid form which stands between 
capital and arch.
Some important aspects of 
Romanesque architecture 
• “Romanesque” is the first international style since 
the Roman Empire. 
• Competition among cities for the largest churches, 
which continues in the Gothic period via a “quest for 
height.” 
• Masonry (stone) the preferred medium. Craft of 
concrete essentially lost in this period. 
• Rejection of wooden structures or structural 
elements. 
• East end of church the focus for liturgical services. 
West end for the entrance to church.
• Church portals as “billboards” for scripture or 
elements of faith. 
• Cruciform plans. Nave and transept at right angles to 
one another. Church as a metaphor for heaven. 
• Elevation of churches based on basilican forms, but 
with the nave higher than the side aisles. 
• Interiors articulated by repetitive series of moldings. 
Heavy masonry forms seem lighter with applied 
decoration. 
• Bays divide the nave into compartments 
• Round-headed arches the norm. 
• Tripartite division of the elevation continues from 
the earlier periods.
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
• The Romanesque period, from roughly 1000 to 
1137 A.D., has been dubbed the "Period of the 
Church Triumphant." It was during these years 
that the Catholic Church was able to unify 
Western Europe in a manner unparalleled since 
Roman times. This is the Age of Monasticism, 
when vast monastic settlements like Cluny were 
becoming the focus of both the religious and 
scholarly life of the Romanesque populace.
• This is also the Age of the Crusades, when 
Western Christians sought to "liberate" the Holy 
Lands. Both of these features (monasticism and 
the Crusades) spurred the economy, for the 
churches required mighty building campaigns 
and the Crusaders (as a consequence of their 
mobility) opened up new trade routes and 
spurred commerce. It has been noted that the 
cosmopolitan quality of Romanesque culture 
was reminiscent of Roman imperial times; it is 
equally appropriate to compare the unifying 
power of the Pope during the 11th century A.D. 
with that of the Roman Emperor. There are good 
cultural reasons, thus, for naming this period 
"Romanesque."
Political and Economic Life 
The social and economic classes become 
vividly clear in the Worcester Chronicle, 
which depicts the three classes of 
Medieval society: 
• King and Nobles 
• Churchmen 
• Peasant farmers
King Henry I's Dream in the 
Chronicle of John of 
Worcester. 
The author died in 1140 AD 
so it's from before that. 
Original work by John of 
Worcester.
King Henry I and his Court returning to England 
from The Chronicle of John of Worcester
Intellectual Life 
• The 11th and 12th centuries were a time of 
intellectual rebirth as Western scholars 
rediscovered the classical Greek and Roman 
texts that had been preserved in Islamic Spain 
and the eastern Mediterranean. The first 
universities were established in the growing 
cities – 
• Bologna 
• Paris 
• Oxford 
• Cambridge
Romanesque Art 
• The word Romanesque means “In the 
Roman manner.” 
• The word was coined in the 19th century to 
describe European church architecture, 
which often displayed solid masonry walls 
and rounded arches and vaults 
characteristic of imperial Roman buildings.
Interior, Church of Sant Vincenc, Cardona 1020s – 1030s
Church of Sant Vincenc, Cardona 
1020s – 1030s
Pilgrimage Churches 
• The growth of a cult of relics and the 
desire to visit shrines such as Saint 
Peter’s in Rome or Saint James in 
Spain inspired people to travel on 
pilgrimages. Christian victories against 
Muslims also opened roads and 
encouraged travel.
Plan of 
Cathedral of 
Saint James, 
Santiago De 
Compostela
Durham Cathedral Durham, England early 12th century
Reliquary Statue of St. Foy from the Auvergne region, 
France Silver gilt over wood core, with gems and rock crystal 
Late 9th century with later additions
This complex contains a baptistry, a church and a bell tower. The bell 
tower or campanile is the most famous of all. The "Leaning tower of Pisa" 
is 6 stories of arcaded galleries. Round arches were a Roman inspiration. 
The foundation lies on tufu and is sinking. Efforts have been tried to raise it 
upright. Most of them have been disastrous and nearly destroyed the 
tower, such as when they flooded the foundation with water to "float" the 
tower, which only made it lean more. It is 13 feet out of plumb.
• The Baptistry of Pisa is part of the church 
complex, and as with most baptistries, is usually 
round or octagonal in shape. The sacrament of 
baptism is administered. Inside is a baptismal 
front, a receptacle of stone or metal which holds 
water for the rite. 
**NOTE: The baptistry also kept accurate 
population records in bean jars, a jar for girls 
and a jar for boys. As one is born or dies the 
bean is added or subtracted from the jar.
Church of Saint-Étienne 
Caen, France 
1067-1120
Church of Sant’Ambrogio 
Milan, Italy 
1080-1117
Creation and Fall 
Wiligelmus, sculptor 
Modena Cathedral 
Modena, Italy 
1106-1120
Chapters 7,8,14,15, 17 & 16
Cathedral of Saint-Lazare West Portal Last Judgment 
Autun, France ca. 1120-1135
Cathedral of Saint-Lazare West Portal Last Judgment
Church of Saint-Pierre 
Moissac, France 
South Portal 
ca. 1115-1130
Trumeau 
figure— 
the 
Prophet 
Jeremiah
Virgin and Child 
from the Auvergne region of 
France 
Painted wood 
late 12th century
Batlló Crucifix 
from Catalonia, Spain 
Painted wood 
mid 12th century
Church of Saint-Savin-sur- 
Gartempe 
France 
ca. 1100
Christ in Majesty Church of San Clemente, Lérida, Spain 
Fresco ca. 1123
The Bayeux Tapestry 
England or France 
wool embroidery on linen 
ca. 1066-1082
The Bayeux Tapestry - detail
The Bayeux Tapestry 
Detail
Hildegard and Volmer 
Liber Scivias 
(reproduction) 
1165-1175
Cast bronze 
baptismal font by 
Renier de Huy, 
1107–18. In the 
church of Saint- 
Barthélemy, Liège, 
Belgium. Height 64 
cm.
Romanesque metalwork 
• In the 12th century the church 
supplanted secular rulers as the chief 
patron of the arts, and the work was 
carried out in the larger monasteries. 
Under the direction of such great 
churchmen as Henry, bishop of 
Winchester, and Abbot Suger of Saint- 
Denis, near Paris, a new emphasis was 
given to subject matter and symbolism.
• Craftsmen were no longer anonymous; work 
by Roger of Helmarshausen, Reiner of Huy, 
Godefroid de Claire (de Huy), Nicholas of 
Verdun, and others can be identified; and the 
parts they played as leaders of the great 
centers of metalwork on the Rhine and the 
Meuse are recognizable. Their greatest 
achievement was the development of the 
brilliant champlevé enameling, a method that 
replaced the earlier cloisonné technique. 
Gold and silver continued to be used as rich 
settings for enamels; as the framework of 
portable altars, or small devotional diptychs 
or triptychs; for embossed figure work in 
reliquary shrines; and for liturgical plate.
• The masterpieces of the period are 
great house-shaped shrines made to 
contain the relics of saints; for 
example, the shrine of St. Heribert at 
Deutz (c. 1160) and Nicholas of 
Verdun's Shrine of the Three Kings at 
Cologne (c. 1200). In the latter, the 
figures are almost freestanding, and in 
their fine, rhythmic draperies and 
naturalistic movement they approach 
the new Gothic style.
Detail of baptismal font by Renier de Huy
Page with the 
Tree of Jesse 
Explanatio in 
Isaiam 
(St. Jerome’s 
commentary on 
the book of 
Isaiah) 
Burgundy, France 
ca. 1125
Page with 
Hellmouth 
(Angel locking the 
gates of Hell) 
Winchester Psalter 
Winchester, 
England 
ca. 1150
Page with self-portrait 
of the nun Guda 
Book of Homilies 
from Germany 
early 12th century 
First self-portrait of a 
Woman artist.
Gothic Art of the Twelfth and 
Thirteenth Centuries 
Chapter 16
Abbey Church of Saint-Denis 
Ambulatory and choir 
Saint-Denis, France 
1140-1144
Abbey Church of Saint-Denis 
Saint-Denis, France 1140-1144
Rib Vaulting 
• The barrel-vaulted spaces of early Romanesque 
naves covered vast spaces and were relatively 
fireproof. But the barrel vaults failed in one 
critical requirement—lighting. Due to the great 
outward thrust the continuous semicircular vault 
exerted, a clerestory was difficult (but not 
impossible) to construct. A more complex and 
efficient type of vaulting was needed. 
Structurally, the central problem of Romanesque 
architecture was the need to develop a masonry 
vault system that admitted light.
• A major advantage of the Gothic vault is its 
flexibility, which permits the vaulting of 
compartments of varying shapes. Pointed 
arches also channel the weight of the vaults 
more directly downward than do semicircular 
arches. The vaults, therefore, require less 
buttressing to hold them in place, in turn 
permitting the opening up of the walls beneath 
the arches with large windows. Because pointed 
arches also lead the eye upward, they make the 
vaults appear taller than they actually are. Both 
the physical and the visual properties of rib 
vaults with pointed arches aided Gothic 
architects in their quest for soaring height in 
church interiors.
Chapters 7,8,14,15, 17 & 16
Chartres Cathedral West 
façade ca. 1134-1220 
(note that left [north] tower 
is much later than right 
[south] tower)
Chartres Cathedral
Chapters 7,8,14,15, 17 & 16
Chartres Cathedral 
West plan
West (Royal) portal 
Chartres Cathedral 
ca. 1145-1155
Column figures of West Portal Chartres Cathedral 
Prophets and ancestors of Christ 
1145-1155
South Transept entrance 
Chartres Cathedral Saints 1210-1235
Chapters 7,8,14,15, 17 & 16
Chartres 
Cathedral of 
Notre Dame 
Glass 
W facade: 
Passion 
window, Life of 
Christ, Tree of 
Jesse (L to R) 
c. 1134
The oldest complete 
Jesse Tree window is in 
Chartres Cathedral, 
1145.
The north rose window in 
Chartres Cathedral, Chartres, 
France
How were stained glass windows made? 
• The earliest examples of windows with 
figurative scenes are known from St. Remi 
in Reims from around the year 1000. 
Glass is a mixture of silicic acid and metal 
oxides, which solidifies after melting. It 
consists of up to 70% silicic acid, with up 
to 20% alkali's for durability and soda for 
fluidity.
• The only colors available in the Middle Ages were 
saffron-yellow, purplish-red, green, blue and copper-red. 
Miniatures often provided the models for the stained 
glass windows. One cut the small colored glass panes to 
size and then painted them with black solder/flux? 
(Schwarzlot), a mixture of iron and copper powder. After 
1300 silver solder/flux? (Silberlot) was also available, 
which allowed for a new range of colors, for example 
light yellow and reddish-yellow. The colors were melted 
onto the glass. 
The panes could be leaded as soon as they had cooled. 
The pliable lead strips could be easily bent to shape. The 
lead grid had to be carefully applied, as it provided the 
frame for the pictorial design. Any cracks were then filled 
with clay. Generally the complete window would then be 
inserted into the masonry window frame and fixed with 
mortar.
Creating stained glass windows 
• The first stage in the production of a window is 
to make, or acquire from the architect or owners 
of the building, an accurate template of the 
window opening that the glass was to fit. 
• The subject matter of the window is determined 
to suit the location, a particular theme, or the 
whim of the patron. A small design called a 
Vidimus is prepared which can be shown to the 
patron.
• A traditional narrative window has panels which relate a 
story. A figurative window could have rows of saints or 
dignitories. Scriptural texts or mottoes are sometimes 
included and perhaps the names of the patrons or the 
person as whose memorial the window is dedicated. In a 
window of a traditional type, it is usually at the discretion 
of the designer to fill the surrounding areas with borders, 
floral motifs and canopies. 
• A full sized cartoon is drawn for every "light" (opening) of 
the window. A small church window might typically be of 
two lights, with some simple tracery lights above. A large 
window might have four or five lights. The east or west 
window of a large cathedral might have seven lights in 
three tiers with elaborate tracery. In Medieval times the 
cartoon was drawn straight onto a whitewashed table, 
which was then used for cutting, painting and 
assembling the window.
• The designer must take into account the design, the 
structure of the window, the nature and size of the glass 
available and his own preferred technique. The cartoon 
is then be divided into a patchwork as a template for 
each small glass piece. The exact position of the lead 
which holds the glass in place is part of the calculated 
visual effect. 
• Each piece of glass is selected for the desired color and 
cut to match a section of the template. An exact fit is 
ensured by grozing the edges with a tool which can 
nibble off small pieces. 
• Details of faces, hair and hands can be painted onto the 
inner surface of the glass in a special glass paint which 
contains finely ground lead or copper filings, ground 
glass, gum Arabic and a medium such as wine, vinegar 
or (traditionally) urine. The art of painting details became 
increasingly elaborate and reached its height in the early 
20th century.
• Once the window is cut and painted, the pieces are assembled by 
slotting them into H-sectioned lead cames. The joints are then all 
soldered together and the glass pieces are stopped from rattling and 
the window made weatherproof by forcing a soft oily cement or 
mastic between the glass and the cames. 
• Traditionally, when the windows were inserted into the window 
spaces, iron rods were put across at various points, to support the 
weight of the window, which was tied to the rods by copper wire. 
Some very large early Gothic windows are divided into sections by 
heavy metal frames called ferramenta. This method of support was 
also favored for large, usually painted, windows of the Baroque 
period. 
• From 1300 onwards, artists started using silver stain which was made 
with silver nitrate. It gave a yellow effect ranging from pale lemon to 
deep orange. It was usually painted onto the outside of a piece of 
glass, then fired to make it permanent. This yellow was particularly 
useful for enhancing borders, canopies and haloes, and turning blue 
glass into green glass for green grass. 
• By about 1450 a stain known as Cousin's rose was used to enhance 
flesh tones.
Notre-Dame de Paris (1163 – c. 1350) 
Gothic cathedral on the Île de la Cité in Paris.
Notre-Dame de Paris 
(1163 – c. 1350) Gothic 
cathedral on the Île de la 
Cité in Paris. Probably the 
most famous Gothic 
cathedral, Notre-Dame is 
a superb example of the 
Rayonnant style. Two 
massive Early Gothic 
towers (1210 – 50) crown 
the western facade, which 
is divided into three stories 
and has doors adorned 
with Early Gothic carvings and surmounted by a row of figures of Old 
Testament kings. The single-arch flying buttresses at the eastern end 
are notable for their boldness and grace. Its three great rose windows, 
which retain their 13th-century glass, are of awe-inspiring beauty.
The Rayonnant Style 
• The glass is heavily colored, the masonry 
heavily painted, and there is much carved detail. 
One of the characteristics of the second half of 
the 13th century is that glass became lighter, 
painting decreased, and the amount of carved 
decoration dwindled. Thus, in its chronological 
context, the Sainte-Chapelle is a Janus-like 
building--Rayonnant in its architecture but, in 
some ways, old-fashioned in its decoration.
• In a sense, the Rayonnant style was 
technically a simple one. Depending, as it 
did, not primarily on engineering expertise 
or on sensitivity in the handling of 
architectural volumes and masses but on 
the manipulation of geometric shapes 
normally in two dimensions, the main 
prerequisites were a drawing board and 
an office.
Romanesque vs. Gothic 
(Abbey of St. Etienne, Caen) 
Nave (1064-1120) Choir (c. 1200) 
Clerestory 
Triforium 
Main 
arcade 
Vaulting
Rayonnant: St. Chapelle 
Rayonnant (Decorated Gothic in England) was 
characterized by the application of increasingly 
elaborate geometrical decoration
More St. Chapelle 
During the period of the 
Rayonnant style a 
significant change took 
place in Gothic 
architecture. After 1250, 
Gothic architects became 
more concerned with the 
creation of rich visual 
effects through 
decoration. This 
decoration took such 
forms as pinnacles 
(upright members, often 
spired, that capped piers, 
buttresses, or other 
exterior elements), 
moldings, and, especially, 
window tracery. 
(Some classify this as Flamboyant)
Martin Le Franc, Manuscript 
on vellum, in French, 
illuminated by the Master of 
the Échevinage de 
Rouen.France, Rouen, c. 
1465-75. 
Blanche of Castile, Louis IX, and two 
monks, moralized Bible, 1226-1234, 
(Paris)
Art Patronage and Function of 
Medieval Manuscripts 
• Art patronage is an active collaboration between the artist and the 
patron leading to completion of a work of art. In the Middle Ages it 
was of essential importance for the artistic creation; both sides 
provided contributions to the realization of the project without which 
no medieval work of art could have been made. We can see the 
phenomenon of patronage of book production in the Middle Ages 
from two angles: the collective ownership of books intended for the 
common use by a religious community and the individual patronage 
of a religious person or layman, the phenomenon that gradually took 
over during the thirteenth and fourteenth centuries. The books 
ordered for individual use mirror a variety of personal interests. They 
were collected for the purpose of self-education and study, 
satisfying one's eagerness for information. A phenomenon of ardent 
bibliophile interest also occurs relatively frequently during the Middle 
Ages. Finally, a specific kind of a book intended for private devotion 
and contemplation of an individual was favored in the Late Middle 
Ages.
• The finest books belonged to the most powerful 
people, the highest aristocracy. Saint Louis was 
an avid collector. This is the dedication page 
from a Moralized Bible painted for the Queen 
mother and King Louis IX. Above we see the two 
in architectural frames much like those for 
sculpture on the cathedrals. Below in a similar 
frame are the monks, one writing and painting 
the text in a manuscript while the older one 
dictates it. If we look at the page before him, the 
younger monk has divided the page into two 
columns and set four rondels, the format for 
moralized bible comparisons. Again in this 
format too we can see formulas we have already 
seen in the glass windows of the cathedrals .
• Though we saw these forms first in the 
architecture, there is no reason to think that the 
formulas weren’t developed as significantly in 
manuscript and decorative arts forms at the 
same time. 
• The actual process of manuscript illumination 
was a compounded one, involving a number of 
skills, from the manufacture of parchment from 
sheep skin to the manufacture of pens and inks, 
bindings for pages into books and so on. This 
manufacturing process involved a good number 
of people in a well financed workshop.
Gothic Art In England 
• In England the early Gothic phase had its own 
particular character (epitomized by Salisbury 
Cathedral) that is known as the early English Gothic 
style (c. 1200-1300 AD). The first mature example of 
the style was the nave and choir of Lincoln 
Cathedral (begun in 1192). 
• Early English Gothic churches differed in several 
respects from their French counterparts. They had 
thicker, heavier walls that were not much changed 
from Romanesque proportions; accentuated, 
repeated moldings on the edges of interior arches; a 
sparing use of tall, slender, pointed lancet windows; 
and nave piers consisting of a central column of 
light-colored stone surrounded by a number of 
slimmer attached columns made of black purbeck 
marble.
• Early English churches also established 
other stylistic features that were to 
distinguish all of English Gothic: great length 
and little attention to height; a nearly equal 
emphasis on horizontal and vertical lines in 
the stringcourses and elevations of the 
interior; a square termination of the 
building's eastern end rather than a 
semicircular eastern projection; scant use of 
flying buttresses; and a piecemeal, 
asymmetrical conception of the ground plan 
of the church. Other outstanding examples of 
the early English style are the nave and west 
front of Wells Cathedral (c. 1180-c. 1245) and 
the choirs and transept of Rochester 
Cathedral.
This Beatus page with its 
appealing picture of the graceful 
young David playing the harp 
represents some of the most 
refined English painting of its 
time and is one of a group of 
manuscripts showing a court 
style at the end of the thirteenth 
century and in the first decade of 
the fourteenth century. Other 
manuscripts sharing features of 
this style but without known royal 
connections are the Windmill 
Psalter (now Pierpont Morgan 
Library, New York, M.102) and 
the opening page of the 
Peterborough Psalter in Brussels
Salisbury
The spire of Salisbury 
Cathedral—the tallest in 
England at 123m 
(404 ft)—soars to the 
heavens, and marked a 
revolution in cathedral 
architecture when it was 
built 800 years ago.
Salisbury
Shrine of the Three Kings at Cologne Cathedral, 
c. 1190 – c. 1205
The Shrine of the Three Kings 
• Reliquary said to contain the bones of the 
Three Wise Men, also known as the Three 
Kings or the Magi. The shrine is a large 
gilded and decorated triple sarcophagus 
placed above and behind the high altar of 
Cologne Cathedral. It is considered the 
high point of Mosan art and the largest 
reliquary in the western world.
The Dormition of the Virgin 
1190-1439,
Dormition of the Virgin, Coronation of the Virgin, 
Tympana, South Transept Portal, Strasbourg Cathedral 
• According to the legend, the Virgin died at 
age 60, surrounded by the Apostles who 
had been miraculously transported to her 
deathbed from all parts of the world. Christ 
too, depicted with a halo, is in the center, 
prepared to take her soul (the small child 
in his hand) to Heaven. This lyrical scene 
depicts various figures in sorrow.
Chapters 7,8,14,15, 17 & 16
Saint Maurice in the Cathedral of 
Magdeburg, Magdeburg, Germany, 
next to the grave of Otto I, Holy 
Roman Emperor. The cathedral is 
actually named "cathedral of Saints 
Catherine and Maurice" after Saint 
Maurice and Saint Catherine of 
Alexandria. The sculpture was 
created around 1250, and is 
considered to be the first realistic 
depiction of an ethnic African in 
Europe. Unfortunately, the figure is 
no longer complete and misses the 
lower legs and an item in the right 
hand, presumably a lance.
Ekkehard and Uta, from 
Naumburg Cathedral. 
c. 1249-1255 
Painted limestone, 
approx. 6' 2" high
Ekkehard and Uta 
• Ekkehard and Uta are among a group of life size 
sculptures of 12 ancestors of a bishop who was 
a member of the ruling family of Naumburg. The 
ancestors were patrons of the church; their 
images were placed in a new chapel at the west 
end of the church. Unlike the more idealized 
French Gothic sculptures, Ekkehard and Uta are 
treated in a highly individualistic manner, in a 
style akin to Greek Hellenistic. 
• They reveal a strong naturalistic trend in 
German Gothic Sculpture
Assisi's Basilica of Saint Francis 
• In 1226 St. Francis was buried (with the outcasts he had stood 
by) outside of his town on the "hill of the damned." Now called 
the "Hill of Paradise," this is one of the artistic highlights of 
medieval Europe. It's frescoed from top to bottom by the 
leading artists of the day: Cimabue, Giotto, Simone Martini, and 
Pietro Lorenzetti. A 13th-century historian wrote "No more 
exquisite monument to the Lord has been built." 
• From a distance you see the huge arcades "supporting" the 
basilica. These were 15th-century quarters for the monks. The 
arcades lining the square leading to the church housed 
medieval pilgrims. 
• There are three parts to the church: upper basilica, lower 
basilica, and the saint's tomb (below the lower basilica). In the 
1997 earthquake, the lower basilica (with nine-foot-thick walls) 
was undamaged. The upper basilica (with three-foot-thick walls 
and bigger windows) was damaged. Restoration was 
completed in November 1999.
Assisi's Basilica 
of Saint Francis
Damaged structures still 
awaiting demolition.
Adoration of the Magi (detail) by 
Nicola Pisano, c. 1259–60; part of 
the marble pulpit in the Baptistery 
at Pisa.
"The Annunciation and the Nativity," detail of pulpit of Pisa Cathedral 
baptistery, by Nicola Pisano, 1259-1260. The marble relief displays an 
interest in Roman art and is similar the sculpture on ancient Roman 
sarcophagi.
Nicola Pisano 
Sculptor whose work, along with that of his son Giovanni 
and other artists employed in their workshops, created a 
new sculptural style for the late 13th and the 14th 
centuries in Italy. 
This pulpit in the Baptistry is Nicola's earliest 
authenticated work. The hexagonal pulpit is divided into 
three registers: the lower with lions and other figures, 
with the lions depicted as vanquishing prey--a 
Romanesque symbol for Christianity triumphing over 
paganism. The middle level depicts personified Virtues 
and Prophets, and the upper, has reliefs depicting 
events in the life of Christ. Classical influences are 
evident in the style with some of the deeply cut figures 
traced to Roman sources.
Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna, and 
others. Florence Cathedral, Florence. Begun 1296; 
redesigned 1357 and 1366; drum and dome by 
Brunelleschi,1420 - 36; campanile by Giotto, Andrea Pisano, 
and Francesco Talenti, c.1334 - 50
Coppo di Marcovaldo. 
Crucifix, from Tuscany, 
Italy. c. 1250 - 1300. 
Tempera and gold on 
wood panel, (2.93 x 
2.47 m). Pinacoteca, 
San Gimignano, Italy
Saint Francis 
Master. Miracle of 
the Crib of Greccio, 
fresco in upper 
church of San 
Francesco, Assisi, 
Italy. c. 1295 - 
1301/30
Marble tabernacle 
designed and sculpted 
by Andrea Orcagna 
between 1349 and 1359. 
Late Gothic work 
finished and enriched 
with enamel and 
precious stones. The 
painting on the panel is 
the work of Bernardo 
Daddi, dated 1347.
Chapters 7,8,14,15, 17 & 16
• Fourteenth-century Europe was ravaged 
by famine, war, and, most devastatingly, 
the Black Plague. These widespread 
crises inspired a mystical religiosity, which 
emphasized both ecstatic joy and extreme 
suffering, producing emotionally charged 
and often graphic depictions of the 
Crucifixion and the martyrdoms of the 
saints.
• While the great boom of cathedral building that 
had marked the previous century waned, 
cathedrals continued to serve as the centers of 
religious life and artistic creation. Wealthy 
patrons sponsored the production of elaborate 
altarpieces, as well as smaller panel paintings 
and religious statues for private devotional use. 
A growing literate elite created a demand for 
both richly decorated prayer books and volumes 
on secular topics. In Italy, the foremost Sienese 
painter, Duccio, sought to synthesize northern, 
Gothic influences with eastern, Byzantine ones, 
while the groundbreaking Florentine Giotto 
moved toward the depiction of three-dimensional 
figures in his wall paintings.
Fourteenth-century collapse 
• The fourteenth century saw a series of 
catastrophes that caused the European 
economy to go into recession. 
• The Medieval Warm Period was ending as 
the transition to the Little Ice Age began. 
This change in climate saw agricultural 
output decline significantly, leading to 
repeated famines, exacerbated by the 
rapid population growth of the earlier era.
• The Hundred Years' War began between England and 
France, disrupting trade throughout northwest Europe, 
most notably when, in 1345, King Edward III of England 
repudiated his debts, leading to the collapse of the two 
largest Florentine banks, those of the Bardi and Peruzzi. 
• In the east, war was also disrupting trade routes as the 
Ottoman Empire began to expand throughout the region. 
Most devastating, though, was the Black Death that 
decimated the populations of the densely populated 
cities of Northern Italy. The population of Florence, for 
instance, fell from 90,000 to 50,000 people. 
• Widespread disorder followed, including a revolt of 
Florentine textile workers, the ciompi, in 1378.
The Duomo - Florence Cathedral. Drawing with cross-section 
of interior. 1294 plan 1296-1420
The original design was by 
the architect and sculptor, 
Arnolfo di Cambio, but his 
plans were later revised and 
enlarged after the decision 
of a panel of architects and 
painters. The new designer 
was Francesco Talenti. 
In 1420,Filippo Brunelleschi 
started building the 
enormous dome, il cupola, 
and finally on March 25, 
1436 Pope Eugene IV 
consecrated the Cathedral 
of Santa Maria del Fiore.
The Dome of the Florence Cathedral was designed and built 
by Filippo Brunelleschi in 1425.
South Door of the 
Baptistery of San 
Giovanni 
Andrea Pisano 
1336 
Gilded bronze 
Florence, Baptistery of 
San Giovanni
Cenni di Pepo (Giovanni) 
• Better known by his nickname “Cimabue” (c. 1240 — 
c. 1302) also known as Bencivieni Di Pepo or in modern 
Italian, Benvenuto Di Giuseppe, was an Italian painter 
and creator of mosaics from Florence. He is also well 
known for his student Giotto, who revolutionized painting 
in Italy. Cimabue is generally regarded as the last great 
painter working in the Byzantine tradition. The art of this 
period comprised scenes and forms that appeared 
relatively flat and highly stylized. Cimabue was a pioneer 
in the move towards naturalism, as his figures were 
depicted with rather more life-like proportions and 
shading.
"Madonna Enthroned 
with Angels and 
Prophets," by Cimabue, 
ca. 1280-1290. Tempera 
on wood, 12' 7" x 7' 4". 
Galleria degli Uffizi, 
Florence. Cimabue's art 
is influenced by the 
Byzantine style.
Giotto di Bondone 
• Giotto di Bondone (c. 1267 – January 8, 1337), better 
known simply as Giotto, was an Italian painter and architect 
from Florence. He is generally considered the first in a line 
of great artists who contributed to the Italian Renaissance. 
• The 16th-century biographer Giorgio Vasari state that "...He 
made a decisive break with the ...Byzantine style, and 
brought to life the great art of painting as we know it today, 
introducing the technique of drawing accurately from life, 
which had been neglected for more than two hundred 
years." 
• Giotto's masterwork is the decoration of the Scrovegni 
Chapel in Padua, commonly called the Arena Chapel, 
completed around 1305. This fresco cycle depicts the life of 
the Virgin and the passion of Christ. It is regarded as one of 
the supreme masterpieces of the Early Renaissance.
"Madonna and Child 
Enthroned," by Giotto, 
ca.1310. Tempera on 
panel, 10'8" X 6' 8 1/4". 
Galleria degli Uffizi, 
Florence.
The Scrovegni (Arena) 
Chapel, near Padua 
Giotto di Bondone 
1305-1306
• The Arena Chapel (so-called because it occupies the 
site of a Roman arena) was built by Enrico Scrovegni in 
expiation for the sins of his father, a notorious usurer 
mentioned by Dante. It was begun in 1303 and Giotto's 
frescos are usually dated c. 1305-06. They run right 
round the interior of the building; the west wall is covered 
with a Last Judgement, there is an Annunciation over the 
chancel arch, and the main wall areas have three tiers of 
paintings representing scenes from the life of the Virgin 
and her parents, St Anne and St Joachim, and events 
from the Passion of Christ.
Giotto's "The Lamentation," at the Arena 
Chapel, ca. 1305, fresco.
Virgin and Child in Majesty (Maesta)," by Duccio di 
Buoninsegna. Main panel of Maessta Altarpiece, 
from Sienna Cathedral. 1308 - 11. Tempera and gold 
on wood, 7' X 13' 6
The Nativity 
with the Prophets Isaiah and Ezekiel (1308-1311) 
Duccio di Buoninsegna
Cennino d'Andrea Cennini 
(c. 1370 – c. 1440) 
• Italian painter influenced by Giotto. He was a student of Agnolo 
Gaddi. 
• Cennini was born in Colle Val d'Elsa, Tuscany. 
• He is remembered mainly for having authored Il libro dell'arte, 
often translated as The Craftsman's Handbook. Written in the 
early 15th century, the book is a "how to" on . It contains 
information on pigments, brushes, panel painting, the art of 
fresco, and techniques and tricks, including detailed instructions 
for underdrawing, underpainting and overpainting in egg 
tempera. Cennini also provides an early, if somewhat crude, 
discussion of painting in oils. His discussion of oil painting was 
important for dispelling the myth, propagated by Giorgio Vasari 
and Karel Van Mander, that oil painting was invented by Jan 
van Eyck (although Theophilus (Roger of Helmerhausen) 
clearly gives instructions for oil-based painting in his treatise, 
On Divers Arts, written in 1125).
Ambrogio Lorenzetti 
Effects of Good Government on the City 
Fresco in the Palazzo Publico (Siena, 1338-1340)
Allegory of Good Government, Ambrogio 
Lorenzetti, fresco, c. 1338-1339, Palazzo 
Pubblico, Siena, Italy (Gothic-Early 
Renaissance).
Allegory of Good Government, Ambrogio Lorenzetti, 
fresco, c. 1338-1339, Palazzo Pubblico, Siena, Italy 
(Gothic-Early Renaissance).
Buon Fresco-Italian for true 
fresco, is a fresco painting 
technique — in which alkaline 
resistant pigments, ground in 
water, are applied to wet plaster. 
It is distinguished from the fresco-secco 
(or a secco) and finto fresco 
techniques, in which paints are 
applied to dried plaster..
Chapters 7,8,14,15, 17 & 16
France 
• Manuscript illumination was a favorite of French 
kings and high-ranking nobles. A French king, 
possibly Louis XI, sits surrounded by elegantly 
dressed courtiers in this miniature, which 
accompanies a letter describing courtly life in 
bluntly critical terms. The king looks directly out 
at the viewer instead of paying attention to his 
courtiers, echoing the text's claim that the king 
neglected the troubles and burdens of those 
around him.
Jean Pucelle (c. 1300 – 1355) 
• Parisian Gothic-era manuscript illuminator, 
active between 1320 and 1350. His style 
is characterized by delicate figures 
rendered in grisaille, accented with 
touches of color. Pucelle's most famous 
work is the The Hours of Jeanne d'Evreux, 
c. 1324-1328.
• Grisaille (grĭ-zī', -zāl'; French: gris, grey) 
is a term for painting executed entirely in 
monochrome, usually in shades of grey or 
brown, particularly used in decoration to 
represent objects in relief. Italian 
examples may be described as work in 
chiaroscuro, although this term has other 
meanings as well. Some grisailles in fact 
include a slightly wider colour range, like 
the Andrea del Sarto illustrated.
The Hours of Jeanne d'Évreux, ca. 1324–1328 Jean Pucelle (French, 
active in Paris, ca. 1320–34) French; Made in Paris 
Grisaille and tempera on vellum; 3 1/2 x 2 7/16 in. (8.9 x 6.2 cm) 
The Cloisters Collection, 1954 (54.1.2)
Sequence of Events 
c. 1307 -21 Dante writes The Devine 
Comedy 
1307-77 Papacy transferred from 
Rome to Avignon 
1348 Arrival of Black Death to 
mainland Europe 
1378 – 1417 Great Schism in Catholic 
Church 
1396 Greek studies instituted in 
Florence; beginning or the 
revival of Greek literature
Chapters 7,8,14,15, 17 & 16
Sculpture 
• Sculpture of the 14th century is exemplified 
by its intimate character. Religious 
subjects became more emotionally 
expressive. In the secular realm chivalry 
was revived just as the era of the Knight 
on horseback was rendered obsolete. 
Tales of love and valor were carved on 
luxury items to the delight of the rich, 
middle class, and aristocracy alike.
Casket with Scenes of Romances (Attack on the Castle of Love) 
Lid of box – Paris, c. 1330-50 Ivory with iron mounts 4 ½ x 9 11/16” 
French Gothic ivory casket made in Paris between 1330 and 1350
• The casket is one of the relatively few larger 
ivory caskets dealing with a secular theme from 
the period, one of about a dozen examples 
showing variations of a number of scenes, 
• By this period, Paris was the main European 
centre of ivory carving, producing large numbers 
of religious and secular objects, including small 
diptychs with religious scenes that used the 
same relief technique; these and smaller secular 
objects such as mirror-cases are more common 
than these caskets or larger religious statues 
like the Virgin and Child from the Sainte- 
Chapelle of the 1260s.
• This casket may well have been a gift of 
courtship or upon marriage, and was probably 
intended for an aristocratic female owner, to 
keep her jewels and other valuables in. The 
carved scenes were possibly originally painted; 
as the paint on Gothic ivories tended to peel in 
places, it was very often removed by later 
dealers and collectors. The unusually large size 
of the piece allows a wide range of the repertoire 
of popular scenes from different literary sources 
in French Gothic art to be shown, which display 
a variety of medieval attitudes to love and the 
role of women.
Virgin and Child 
from Saint-Denis 
silver gilt and 
enamel 
ca. 1339
Peter Parler 
• German architect, best-known for building 
Saint Vitus Cathedral and Charles Bridge 
in Prague, where he lived since about 
1356.
• Peter Parler became the master mason of 
Saint Vitus Cathedral in 1352, after the 
death of its original architect, Matthias of 
Arras. Apart from the cathedral, he was 
the main designer of the New Town of 
Prague and built Charles Bridge and its 
towers. In the Royal Palace of Prague 
Castle, Parler built the All Saints' Chapel. 
After the fire of 1541 it was redecorated in 
the Baroque style.
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16
Chapters 7,8,14,15, 17 & 16

Más contenido relacionado

La actualidad más candente

Early Christian Art
Early Christian ArtEarly Christian Art
Early Christian ArtGreg A.
 
1 early christian art
1 early christian art1 early christian art
1 early christian artjenniferkarch
 
Early Christian/ Early Jewish Art PowerPoint
Early Christian/ Early Jewish Art PowerPointEarly Christian/ Early Jewish Art PowerPoint
Early Christian/ Early Jewish Art PowerPointsmolinskiel
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine Artbassmanb
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine ArtGreg Sill
 
Ch 11 Catacombs to Cathedrals
Ch 11 Catacombs to CathedralsCh 11 Catacombs to Cathedrals
Ch 11 Catacombs to Cathedralsd cason
 
Ahtr byzantine module
Ahtr byzantine moduleAhtr byzantine module
Ahtr byzantine moduleAmy Raffel
 
Constantine: The Great Conversion
Constantine: The Great ConversionConstantine: The Great Conversion
Constantine: The Great ConversionTracie Conner
 
Constantine & Religion
Constantine & ReligionConstantine & Religion
Constantine & ReligionClaire James
 
Early Christian Architecture
Early Christian ArchitectureEarly Christian Architecture
Early Christian ArchitectureHarpreet Oberoi
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine ArtSKUOJ12
 
Transition from Roman to Byzantine
Transition from Roman to ByzantineTransition from Roman to Byzantine
Transition from Roman to ByzantineEl Camino College
 

La actualidad más candente (20)

Early Christian Art
Early Christian ArtEarly Christian Art
Early Christian Art
 
1 early christian art
1 early christian art1 early christian art
1 early christian art
 
Ch 7 Arh
Ch 7 ArhCh 7 Arh
Ch 7 Arh
 
Christian Art
Christian ArtChristian Art
Christian Art
 
Early Christian/ Early Jewish Art PowerPoint
Early Christian/ Early Jewish Art PowerPointEarly Christian/ Early Jewish Art PowerPoint
Early Christian/ Early Jewish Art PowerPoint
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine Art
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine Art
 
Ch 11 Catacombs to Cathedrals
Ch 11 Catacombs to CathedralsCh 11 Catacombs to Cathedrals
Ch 11 Catacombs to Cathedrals
 
Ahtr byzantine module
Ahtr byzantine moduleAhtr byzantine module
Ahtr byzantine module
 
Constantine: The Great Conversion
Constantine: The Great ConversionConstantine: The Great Conversion
Constantine: The Great Conversion
 
ARTID121 Byzantine Art
ARTID121 Byzantine ArtARTID121 Byzantine Art
ARTID121 Byzantine Art
 
Constantine
ConstantineConstantine
Constantine
 
Constantine & Religion
Constantine & ReligionConstantine & Religion
Constantine & Religion
 
9.byzantine art
9.byzantine art9.byzantine art
9.byzantine art
 
Review 6 christian
Review 6 christianReview 6 christian
Review 6 christian
 
Early Christian Architecture
Early Christian ArchitectureEarly Christian Architecture
Early Christian Architecture
 
Byzantine Art
Byzantine ArtByzantine Art
Byzantine Art
 
Unit2a
Unit2aUnit2a
Unit2a
 
Byzantine art
Byzantine artByzantine art
Byzantine art
 
Transition from Roman to Byzantine
Transition from Roman to ByzantineTransition from Roman to Byzantine
Transition from Roman to Byzantine
 

Destacado

015 Early Christian Art
015 Early Christian Art015 Early Christian Art
015 Early Christian ArtLori Kent
 
Early Medieval Art
Early Medieval ArtEarly Medieval Art
Early Medieval ArtGary Freeman
 
Early medieval art upload
Early medieval art uploadEarly medieval art upload
Early medieval art uploadnichsara
 
Late renaissance n. europe spain
Late renaissance n. europe spainLate renaissance n. europe spain
Late renaissance n. europe spainAndrea Fuentes
 
Leonardo Da Vinci SIS Nicholas K
Leonardo Da Vinci SIS Nicholas KLeonardo Da Vinci SIS Nicholas K
Leonardo Da Vinci SIS Nicholas KNicholas K
 
Uso de los rea en las unidades aicle
Uso de los rea en las unidades aicleUso de los rea en las unidades aicle
Uso de los rea en las unidades aicleTrova Troupe
 
Clic unit the italian renaissance painting
Clic unit the italian renaissance   paintingClic unit the italian renaissance   painting
Clic unit the italian renaissance paintingTrova Troupe
 
Leonardo Da Vinci
Leonardo Da VinciLeonardo Da Vinci
Leonardo Da Vinciclass101
 
Leonardo Da Vinci (inglés)
Leonardo Da Vinci (inglés)Leonardo Da Vinci (inglés)
Leonardo Da Vinci (inglés)joalma4c
 
Leonardo Da Vinci Inspiration
Leonardo Da Vinci InspirationLeonardo Da Vinci Inspiration
Leonardo Da Vinci InspirationFreddie Kirsten
 

Destacado (20)

015 Early Christian Art
015 Early Christian Art015 Early Christian Art
015 Early Christian Art
 
Early Medieval Art
Early Medieval ArtEarly Medieval Art
Early Medieval Art
 
Early medieval art upload
Early medieval art uploadEarly medieval art upload
Early medieval art upload
 
Tour of e,g,r
Tour of e,g,rTour of e,g,r
Tour of e,g,r
 
Greek and Roman Art
Greek and Roman ArtGreek and Roman Art
Greek and Roman Art
 
Egyptian art
Egyptian artEgyptian art
Egyptian art
 
Alfaro
AlfaroAlfaro
Alfaro
 
Late renaissance n. europe spain
Late renaissance n. europe spainLate renaissance n. europe spain
Late renaissance n. europe spain
 
The Renaissance
The RenaissanceThe Renaissance
The Renaissance
 
Leonardo Da Vinci SIS Nicholas K
Leonardo Da Vinci SIS Nicholas KLeonardo Da Vinci SIS Nicholas K
Leonardo Da Vinci SIS Nicholas K
 
Uso de los rea en las unidades aicle
Uso de los rea en las unidades aicleUso de los rea en las unidades aicle
Uso de los rea en las unidades aicle
 
Clic unit the italian renaissance painting
Clic unit the italian renaissance   paintingClic unit the italian renaissance   painting
Clic unit the italian renaissance painting
 
Egyptian Art
Egyptian ArtEgyptian Art
Egyptian Art
 
Egyptian Art
Egyptian ArtEgyptian Art
Egyptian Art
 
Egyptian Art
Egyptian ArtEgyptian Art
Egyptian Art
 
Hum 1
Hum 1Hum 1
Hum 1
 
Leonardo Da Vinci
Leonardo Da VinciLeonardo Da Vinci
Leonardo Da Vinci
 
Leonardo Da Vinci (inglés)
Leonardo Da Vinci (inglés)Leonardo Da Vinci (inglés)
Leonardo Da Vinci (inglés)
 
The Renaissance
The RenaissanceThe Renaissance
The Renaissance
 
Leonardo Da Vinci Inspiration
Leonardo Da Vinci InspirationLeonardo Da Vinci Inspiration
Leonardo Da Vinci Inspiration
 

Similar a Chapters 7,8,14,15, 17 & 16

Middle ages research (3)
Middle ages research (3)Middle ages research (3)
Middle ages research (3)Noor Aerabe
 
Early christian era2 FINAL
Early christian era2 FINALEarly christian era2 FINAL
Early christian era2 FINALJam Gambong
 
Christian (Pp Tminimizer)
Christian (Pp Tminimizer)Christian (Pp Tminimizer)
Christian (Pp Tminimizer)dneesio
 
Early christian architecture
Early christian architectureEarly christian architecture
Early christian architectureGoby Cracked
 
EARLY CHRISTIAN ARCHITECTURE.pptx
EARLY CHRISTIAN ARCHITECTURE.pptxEARLY CHRISTIAN ARCHITECTURE.pptx
EARLY CHRISTIAN ARCHITECTURE.pptxNikita Bhuraria
 
Chapter Six: Early Christian and Byzantine Architecture
Chapter Six: Early Christian and Byzantine ArchitectureChapter Six: Early Christian and Byzantine Architecture
Chapter Six: Early Christian and Byzantine ArchitectureDouglas Vail
 
Byzantine Architecture
Byzantine ArchitectureByzantine Architecture
Byzantine ArchitectureRubaAbuGheith1
 
ARH1000 Early Christian & Byzantine Art.pdf
ARH1000 Early Christian & Byzantine Art.pdfARH1000 Early Christian & Byzantine Art.pdf
ARH1000 Early Christian & Byzantine Art.pdfProfWillAdams
 
Byzantine (Pp Tminimizer)
Byzantine (Pp Tminimizer)Byzantine (Pp Tminimizer)
Byzantine (Pp Tminimizer)dneesio
 
8. byzantine art final
8. byzantine art final8. byzantine art final
8. byzantine art finalJustin Morris
 
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdf
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdfEARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdf
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdfEloisaGonda
 

Similar a Chapters 7,8,14,15, 17 & 16 (20)

Artreview Part2
Artreview Part2Artreview Part2
Artreview Part2
 
Middle ages research (3)
Middle ages research (3)Middle ages research (3)
Middle ages research (3)
 
gvj
gvjgvj
gvj
 
nmb
nmbnmb
nmb
 
Early christian era2 FINAL
Early christian era2 FINALEarly christian era2 FINAL
Early christian era2 FINAL
 
Ewish & early christian art
Ewish & early christian artEwish & early christian art
Ewish & early christian art
 
Byzantine part 2
Byzantine part 2Byzantine part 2
Byzantine part 2
 
Christian (Pp Tminimizer)
Christian (Pp Tminimizer)Christian (Pp Tminimizer)
Christian (Pp Tminimizer)
 
Early christian architecture
Early christian architectureEarly christian architecture
Early christian architecture
 
EARLY CHRISTIAN ARCHITECTURE.pptx
EARLY CHRISTIAN ARCHITECTURE.pptxEARLY CHRISTIAN ARCHITECTURE.pptx
EARLY CHRISTIAN ARCHITECTURE.pptx
 
Chapter Six: Early Christian and Byzantine Architecture
Chapter Six: Early Christian and Byzantine ArchitectureChapter Six: Early Christian and Byzantine Architecture
Chapter Six: Early Christian and Byzantine Architecture
 
Byzantine Architecture
Byzantine ArchitectureByzantine Architecture
Byzantine Architecture
 
ARH1000 Early Christian & Byzantine Art.pdf
ARH1000 Early Christian & Byzantine Art.pdfARH1000 Early Christian & Byzantine Art.pdf
ARH1000 Early Christian & Byzantine Art.pdf
 
Byzantine (Pp Tminimizer)
Byzantine (Pp Tminimizer)Byzantine (Pp Tminimizer)
Byzantine (Pp Tminimizer)
 
Early Christian Architecture
Early Christian ArchitectureEarly Christian Architecture
Early Christian Architecture
 
sd
sdsd
sd
 
8. byzantine art final
8. byzantine art final8. byzantine art final
8. byzantine art final
 
(humanities)
 (humanities) (humanities)
(humanities)
 
Jennifer (humanities)
Jennifer (humanities)Jennifer (humanities)
Jennifer (humanities)
 
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdf
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdfEARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdf
EARLY CHRISTIAN ARCHITECTURE_HISTORY OF ARCHITECTURE 1.pptx.pdf
 

Último

Black Art Colonial Spaces at The Museum of Fine Arts, Boston
Black Art Colonial Spaces at The Museum of Fine Arts, BostonBlack Art Colonial Spaces at The Museum of Fine Arts, Boston
Black Art Colonial Spaces at The Museum of Fine Arts, BostonProfessorNordell
 
Deondre' O'Bannon -Photography Portfolio
Deondre' O'Bannon -Photography PortfolioDeondre' O'Bannon -Photography Portfolio
Deondre' O'Bannon -Photography Portfoliodxobannon
 
Digital Marketing Creative Portfolio - Xandra Somera
Digital Marketing Creative Portfolio - Xandra SomeraDigital Marketing Creative Portfolio - Xandra Somera
Digital Marketing Creative Portfolio - Xandra SomeraXandra26
 
Adventures in Soup Storyboard Clickthrough
Adventures in Soup Storyboard ClickthroughAdventures in Soup Storyboard Clickthrough
Adventures in Soup Storyboard ClickthroughLillyKocurek
 
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTS
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTSWILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTS
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTSbilalpakweb
 
Fishy - a short comic by Petra van Berkum
Fishy - a short comic by Petra van BerkumFishy - a short comic by Petra van Berkum
Fishy - a short comic by Petra van Berkumberkumpje1
 
When a sudden medical emergency occurs—say, a spouse has a stroke
When a sudden medical emergency occurs—say, a spouse has a strokeWhen a sudden medical emergency occurs—say, a spouse has a stroke
When a sudden medical emergency occurs—say, a spouse has a strokebilalpakweb
 
Award - Winning Photographer - Alex Matus
Award - Winning Photographer - Alex MatusAward - Winning Photographer - Alex Matus
Award - Winning Photographer - Alex MatusAlex Matus Photography
 
Recycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide PresentationRecycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide Presentationmakaiodm
 
Ghostectives Storyboard (Work in Progress)
Ghostectives Storyboard (Work in Progress)Ghostectives Storyboard (Work in Progress)
Ghostectives Storyboard (Work in Progress)RyanLovett5
 
Music Magazine contents page inspiration
Music Magazine contents page inspirationMusic Magazine contents page inspiration
Music Magazine contents page inspirationLydiaAittayeb
 
Seattle2024ExpressiveWritingAMGMarch.ppt
Seattle2024ExpressiveWritingAMGMarch.pptSeattle2024ExpressiveWritingAMGMarch.ppt
Seattle2024ExpressiveWritingAMGMarch.pptAine Greaney Ellrott
 
Rendezvous Arts on Chicago Tribune March20 2024
Rendezvous Arts on Chicago Tribune March20 2024Rendezvous Arts on Chicago Tribune March20 2024
Rendezvous Arts on Chicago Tribune March20 2024danwonclarinet
 
Film Poster for a fictional movie La Mer
Film Poster for a fictional movie La MerFilm Poster for a fictional movie La Mer
Film Poster for a fictional movie La MerAnna Barto
 
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATION
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATIONMeal Planning, Nutrition, and Digestion / TREATING CONSTIPATION
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATIONbilalpakweb
 
The Beach - a short visual story by Petra van Berkum
The Beach - a short visual story by Petra van BerkumThe Beach - a short visual story by Petra van Berkum
The Beach - a short visual story by Petra van Berkumberkumpje1
 
Recycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide PresentationRecycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide Presentationmakaiodm
 

Último (20)

Black Art Colonial Spaces at The Museum of Fine Arts, Boston
Black Art Colonial Spaces at The Museum of Fine Arts, BostonBlack Art Colonial Spaces at The Museum of Fine Arts, Boston
Black Art Colonial Spaces at The Museum of Fine Arts, Boston
 
Deondre' O'Bannon -Photography Portfolio
Deondre' O'Bannon -Photography PortfolioDeondre' O'Bannon -Photography Portfolio
Deondre' O'Bannon -Photography Portfolio
 
Digital Marketing Creative Portfolio - Xandra Somera
Digital Marketing Creative Portfolio - Xandra SomeraDigital Marketing Creative Portfolio - Xandra Somera
Digital Marketing Creative Portfolio - Xandra Somera
 
SEC v Burns .
SEC v Burns                                            .SEC v Burns                                            .
SEC v Burns .
 
Adventures in Soup Storyboard Clickthrough
Adventures in Soup Storyboard ClickthroughAdventures in Soup Storyboard Clickthrough
Adventures in Soup Storyboard Clickthrough
 
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTS
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTSWILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTS
WILLS AND TRUSTS DIFFERENTIATING BETWEEN WILLS AND TRUSTS
 
Fishy - a short comic by Petra van Berkum
Fishy - a short comic by Petra van BerkumFishy - a short comic by Petra van Berkum
Fishy - a short comic by Petra van Berkum
 
When a sudden medical emergency occurs—say, a spouse has a stroke
When a sudden medical emergency occurs—say, a spouse has a strokeWhen a sudden medical emergency occurs—say, a spouse has a stroke
When a sudden medical emergency occurs—say, a spouse has a stroke
 
Award - Winning Photographer - Alex Matus
Award - Winning Photographer - Alex MatusAward - Winning Photographer - Alex Matus
Award - Winning Photographer - Alex Matus
 
Recycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide PresentationRecycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide Presentation
 
Book_National_Library_of_India_Exclusive Craqdi Library .pdf
Book_National_Library_of_India_Exclusive Craqdi Library  .pdfBook_National_Library_of_India_Exclusive Craqdi Library  .pdf
Book_National_Library_of_India_Exclusive Craqdi Library .pdf
 
Ghostectives Storyboard (Work in Progress)
Ghostectives Storyboard (Work in Progress)Ghostectives Storyboard (Work in Progress)
Ghostectives Storyboard (Work in Progress)
 
Music Magazine contents page inspiration
Music Magazine contents page inspirationMusic Magazine contents page inspiration
Music Magazine contents page inspiration
 
Seattle2024ExpressiveWritingAMGMarch.ppt
Seattle2024ExpressiveWritingAMGMarch.pptSeattle2024ExpressiveWritingAMGMarch.ppt
Seattle2024ExpressiveWritingAMGMarch.ppt
 
BELSOSI
BELSOSIBELSOSI
BELSOSI
 
Rendezvous Arts on Chicago Tribune March20 2024
Rendezvous Arts on Chicago Tribune March20 2024Rendezvous Arts on Chicago Tribune March20 2024
Rendezvous Arts on Chicago Tribune March20 2024
 
Film Poster for a fictional movie La Mer
Film Poster for a fictional movie La MerFilm Poster for a fictional movie La Mer
Film Poster for a fictional movie La Mer
 
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATION
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATIONMeal Planning, Nutrition, and Digestion / TREATING CONSTIPATION
Meal Planning, Nutrition, and Digestion / TREATING CONSTIPATION
 
The Beach - a short visual story by Petra van Berkum
The Beach - a short visual story by Petra van BerkumThe Beach - a short visual story by Petra van Berkum
The Beach - a short visual story by Petra van Berkum
 
Recycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide PresentationRecycle Ann Arbor Brand Guide Presentation
Recycle Ann Arbor Brand Guide Presentation
 

Chapters 7,8,14,15, 17 & 16

  • 1. Chapter 7 Jewish, Early Christian, and Byzantine Art
  • 2. Catacombs of Commodilla, Jesus the Alpha and Omega Rome, Italy 4th c. AD. fresco
  • 3. Catacombs of Commodilla, Jesus the Alpha and Omega • This panel shows a bearded Jesus flanked by two Greek letters: on the left alpha, the first letter of the alphabet, on the right, omega, the last letter of the alphabet. The picture evokes Rev 1:8: "I am the Alpha and the Omega, says the Lord God, who is and was and who is to come, the Almighty."
  • 5. Menorahs and Ark of the Covenant, wall painting in a Jewish catacomb, Villa Torlonia, Rome, 3rd Century.
  • 6. Dura-Europos in Syria c.244-245 wall with the Torah Niche, tempera on plaster
  • 7. Detail of Niche at Dura- Europos in Syria c.244- 245 wall with the Torah Niche, tempera on plaster
  • 8. Finding of the Baby Moses, Wall painting Dura-Europos, Syria. Copy in tempora on plaster 244-45 AD.
  • 9. Maon Synagogue floor, Eretz Yisrael, 530 AD., mosaic detail.
  • 10. Menorah • During the wanderings of the Children of Israel through the desert, the artisan, Bezalel, the son of Uri, was commanded to fashion a seven-branched candelabrum or menorah, for use in the Lord's Tabernacle:
  • 11. CHRISTIAN SYMBOLISM • Like Musical Notation, Christian Symbolism illustrates that for which it stands. And it adds a certain beauty and mysticism to religion, speaking as it does of an unseen world and a supernatural faith. For the proper understanding of Christian Art and Architecture some knowledge of symbolism is absolutely necessary.
  • 12. Symbols • The Dove represents the HOLY GHOST, under which figure the Holy Spirit descended upon Christ at His Baptism. • The Fish represents Christ - The Greek word "Ixthus" which means "Fish," is spelled from the first letters of Greek words meaning, "Jesus CHRIST, Son of GOD SAVIOR." This sign was used as a secret symbol by the early Christians in the days of persecution. • The Gospels are symbolized by the Figures of a Man, a Lion, an Ox, and an Eagle referring to Saint Matthew, Saint Mark, Saint Luke and Saint John, who respectively represented Our Lord as Man, King, Priest and Victim and GOD. • The Lamb typifies Christ as the Lamb of GOD symbolizing Christ’s sacrifice on the Cross. It is usually seen holding a Banner and Cross. The Good Shepherd also represents Christ. This is probably the earliest of all Christian symbols. CHRIST is sometimes shown with the Sheep in His Arms.
  • 14. Symbol of the Cross • The Cross represents the mode of Christ’s Death. Though long antedating Christianity it was early adopted as a Sacred Symbol. Of the many forms of the Cross, the Latin, the Celtic, the Greek and the Maltese are those most generally seen. The shape of the "True Cross" was probably the Latin (or perhaps the "T") Cross, having the lower arm longer than the others.
  • 15. Tau Cross - This form of cross (resembling the Greek letter Tau) predates the Latin cross. Greek Cross - All arms are of equal length. Latin Cross - The most common depiction of a Christian cross in modern times. St. Peter’s Cross -Representing St. Peter’s upside-down crucifixion.
  • 16. Catacomb Painting: Good Shepherd, Orants, and the Story of Jonah 4th century AD, Rome
  • 17. Good Shepherd, marble statue, 3rd century 19 ¾” H 16” W
  • 18. Early Christian Architecture • The invention of the Christian church was one of the brilliant-- perhaps the most brilliant--solutions in architectural history. This was achieved by a process of assimilating and rejecting various precedents, such as the Greek temple, the Roman public building, the private Roman house, and the synagogue. • The Early Christian period saw the growth of Christianity, effectively an underground Eastern mystery cult during the first three centuries AD. It was established as the state religion of the Empire under the successors of Constantine. Ecclesiastical administration set up within the framework of the Roman Empire. • Little change in social and economic order. Gradual split between Eastern and Western Empire in state and church. Political and economic breakdown of the West, ending in barbarian invasions.
  • 19. • Early Christian Architecture: basilical church developed from Roman secular basilica; centralized type from Roman tombs. Basilical plan modified for liturgical requirements; congregation and clergy segregated in nave and aisles vs. transept and apse. Different variants in East and West. • In Rome, classical marble wall membering and vocabulary, and emphasis on massive wall, gradually replaced by broad, flat surfaces, evenly lighted; plain brick exteriors; mosaic bands of interiors. Long planes with little articulation, either horizontal or vertical. •
  • 20. Baptistry in Christian House, Dura Europos, miracles of Jesus, Dura Europos, 3rd century AD., Syria.
  • 21. • Following the Edict of Milan in 313 Constantine began an extensive building program to provide churches and meeting places for Christians. Previously they met in private homes that had rooms for worship. The first Christian churches used Roman structural and design elements. The basilica evolved into the essential design for the church that is still used today.
  • 24. Reconstruction drawing of St. Peter’s, Rome c. 333-390 AD right: interior view of St Paul outside the Walls, Rome c. 385 AD.
  • 25. Old St. Peter's, Rome, c. 330, AD.
  • 26. Santa Sabina, Rome, c. 422-432 AD.
  • 27. Interior of Santa Sabina, Rome
  • 28. CHURCH OF SANTA SABINA : Doors Panel 17: Elijah taken to Heaven
  • 29. Plan of Santa Costanza, brick, c. 350 CE, Rome right: interior view of Santa Costanza.
  • 30. Santa Constanza, Rome c. 350 AD. Second type of ancient building – the Tholos. A round structure with a central plan.
  • 31. Harvesting of Grapes, mosaic in the ambulatory vault, Church of Santa Costanza
  • 32. Mausoleum of Galla Placidia, Ravenna, Italy, c. 425-26 AD.
  • 33. • “Built between 425 and 433, this small mausoleum adopts a cruciform plan, and the crossing is covered by a dome. On the outside, the architect simply juxtaposed masses. However, in contrast to Romanesque architecture, the mausoleum walls give the impression of being simple partitions designed to mark off the interior spaces. Blind arcades are its only decoration. The inside is relatively small and extremely simple. The mausoleum was intended from the very start to be covered with mosaics, and these are the oldest in Ravenna. The principal scene depicts the martyrdom of St. Lawrence at the moment when the saint approaches the red-hot gridiron. The other niche represents the Good Shepherd, and on the upper walls are the apostles.”
  • 35. Martyrdom of Saint Lawrence, lunette mosaic, Mausoleum of Galla Placidia, Ravenna, Italy, c. 425-26 AD.
  • 36. Good Shepherd, lunette mosaic, Mausoleum of Galla Placidia, Ravenna, Italy, c. 425-26 AD.
  • 37. Bookcase with the Gospels in codex form – Detail of a mosaic in the eastern lunette, Mausoleum of Galla Placidia
  • 38. Baptism of Christ, with Twelve Saints; dome mosaic, Baptistry of the Orthodox (Neonian Baptistery), mid-5th century A.D.
  • 39. Sarcophagus of Junius Bassus. c. 359 A.D.
  • 40. Detail from the Sarcophagus of Junius Bassus. c. 359 A.D.
  • 41. Early Byzantine art: The First Golden Age • The style of the Eastern Empire (called Byzantine) begins with the re-naming of the capital and continues in some parts of Europe and Russia well into the 15th century A.D. Architecturally, the Byzantine style is distinguished by an emphasis on centrally planned, domed structures such as San Vitale. San Vitale is located in Ravenna, a major Byzantine outpost in Italy. It is a particularly good example of the style's mystical, surging spaces: chapels seem carved out of the radiating aisle, and the plan is a complex octagon-within-an- octagon shape. This church dates to the first great flowering of Byzantine art, the First Golden Age, when the Emperor Justinian ruled from Constantinople.
  • 42. Isidore of Miletus: Hagia Sofia exterior, cross section, and plan
  • 44. Cathedral built at Constantinople (now Istanbul, Turkey) under the direction of the Byzantine emperor Justinian I
  • 46. The Dome • It was not always possible to have a cylindrical base to support a dome. To support a dome on a square base arches could be built to bridge the corners and create an octagonal base. These were called squinches. An even more elaborate system of transferring the thrust of a dome to four points was to employ segments of vaults which are called pendentives.
  • 48. Plan, The Church of San Vitale, Ravenna, 530-547
  • 49. The Church of San Vitale, Ravenna, 530-547
  • 50. The Church of San Vitale, Ravenna, 530-547 The Lamb of God supported by Angels, 546-548, dome apse mosaic, Church of San Vitale, Ravenna, 530-547
  • 51. San Vitale, aerial view, apse nearest viewer
  • 52. Justinian and his Retinue, 546-548, mosaic, north wall of the apse, Church of San Vitale, Ravenna, 530-547
  • 53. Theodora and her retinue, 546-548, mosaic, south wall of the apse, Church of San Vitale, Ravenna, 530-547
  • 54. Apse mosaic of St. Appolinaris and Transfiguration of Christ, Sant’Apollinare in Classe, ca. 550
  • 55. The Archangel Michael Right leaf of a diptych, early sixth century. Ivory, approx. 17" X 151/2" Constantinople, ca. 500 A.D. An ivory panel depicting Saint Michael the Archangel
  • 56. Rebekah at the Wall and Abraham's Servant, page 13, The Vienna Genesis, 6th cent.
  • 57. Detail of The Vienna Genesis
  • 58. Illumination from the Rabbula Gospels Syriac, AD 586, 33x26.7 cm.
  • 59. Icon Virgin and Child with Saints and Angels encaustic on wood from St. Catherine’s Monastery, Sinai, Egypt late sixth century
  • 60. Middle Byzantine Art • The resolution of the Iconoclastic controversy in favor of the use of icons ushered in a second flowering of the empire, the Middle Byzantine period (843– 1261). The arts flourished, Greek became the dominant official language, and Christianity spread from Constantinople throughout the Slavic lands to the north.
  • 61. • In 1204, Crusaders from western Europe took Constantinople, founding the Latin Empire, which lasted until 1261, when Byzantine rule was reestablished. The final great artistic flowering that followed lasted until Constantinople fell to the Ottoman Turks in 1453, more than 1,100 years after its founding. Long after its fall, Byzantium set a standard for luxury, beauty, and learning that inspired both the Latin West and the Islamic East.
  • 62. Icon Our Lady of Vladimir Egg Tempera on Wood Panel 12th century Byzantine faces, with later restorations 45 x 27 in
  • 63. Icons and Iconoclasm • The term icon comes from the Greek eikon, which means "image" or "likeness." In a religious context, it refers to some image or representation of important religious figures, but especially divine or semi-divine figures. Often, these images are venerated in some fashion.
  • 64. The Iconoclastic Controversy • Occurred between the mid-8th century and the mid-9th century in the Byzantine Christian Church over the question of whether or not Christians should continue to revere icons. Most unsophisticated believers tended to revere icons (thus they were called iconodules), but many political and religious leaders wanted to have them smashed because they believed that venerating icons was a form of idolatry (they were called iconoclasts).
  • 65. • The controversy was inaugurated in 726 when Byzantine Emperor Leo III commanded that the image of Christ be taken down from the Chalke gate of the imperial palace. After much debate and controversy, the veneration of icons was official restored and sanctioned during a council meeting in Nicaea in 787. However, conditions were put on their use - they had to be painted flat with no features which stood out. Down through today icons play an important role in the Eastern Orthodox Church, serving as "windows" to heaven.
  • 66. • One result of this conflict was that theologians developed the distinction between veneration and reverence (proskynesis) which was paid to icons and other religious figures, and adoration (latreia), which was owed to God alone. Another was bringing the term iconoclasm into currency, now used for any attempt to attack popular figures or icons (outside of the strict religious sense of the word).
  • 67. Saint Sophia Cathedral in Kiev, 1037 - 46
  • 68. Saint Sophia Cathedral in Kiev, 1037 - 46 St. Nicholas Cathedral, Chicago, Illinois
  • 69. Hosios Loukas Monastery: Phocis, Greece, c.1020 - 1040.
  • 70. Hosios Loukas Monastery: Phocis, Greece, c.1020 - 1040. Interior
  • 71. The Crucifixion, Church of the Dormition, Daphni. c. 1090-1100
  • 72. Interior of St. Mark's Basilica, Venice. begun 1063
  • 73. Objects of Veneration and Devotion • During the second Byzantine golden age, artists of great talent and high aesthetic sensibility produced small luxury items of a personal nature for members of the court as well as for the church.
  • 74. The Harbaville Triptych. Late 10th Century. Ivory
  • 75. Multiple – dome church plans • Domed Greek Cross • Greek Cross domes over square plan • Quincunx domes over square plan • Expanded quincunx
  • 77. Interior of St. Mark's Basilica in Venice, Italy
  • 78. Domed Greek Cross Greek Cross domes over square plan Expanded quincunx
  • 79. The Palatine Chapel (Italian: Cappella Palatina) is the royal chapel of the Norman kings of Sicily situated on the ground floor at the center of the Palazzo Reale in Palermo. The chapel was commissioned by Roger II of Sicily in 1132. It took eight years to build and many more to decorate with mosaics and fine art. The sanctuary, dedicated to Saint Peter, is reminiscent of a domed basilica. It has three apses, as is usual in Byzantine architecture, with six pointed arches (three on each side of the central nave) resting on recycled classical columns.
  • 80. Marble and mosaic decoration in the Chamber of King Roger, Palazzo Normano, Palermo, 1154-66.
  • 81. The late Byzantine period (1204– 1453) • Quite a number of buildings from the late Byzantine period survive in Istanbul, Thessaloníki, and throughout Greece and the Balkans. In general they are on a small scale and follow the plan of those of the middle Byzantine period.
  • 82. Paracclesion of the church of the Monastery of the Savior in Chora
  • 83. Icon Archangel Michael silver gilt with enamel and gemstones late 10th or early 11th century Michael is one of the principal angels in Abrahamic tradition; his name was said to have been the war-cry of the angels in the battle fought in heaven against Satan and his followers.
  • 84. • The name of the church, "in Chora" means "in the country" because the very ancient monastery to which it was attached was outside the walls of the Constantinian city; later when it was included within the Theodosian walls, the name remained the Holy Savior of Chora. The mosaics and frescoes are by far the most important and extensive series of Byzantine paintings in the city and among the best and most beautiful in the world.
  • 85. Fresco of the Resurrection (Anastasis) in the Church in Chora
  • 86. The Old Testament Trinity Prefiguring the Incarnation" by Andrei Rublev, c.1410, is painted on wood, 56" X 45". This late Byzantine style can be seen in the art of the west in late Gothic and early Renaissance painting.
  • 91. The Kaaba is the "cubic" shrine in Mecca, the center of Islamic worship and the holiest place in Islam. ("Kaaba" means "cube" in Arabic.) It was originally a shrine built by Abraham devoted to the one God, about 2000 B.C.
  • 93. • Muslims pray five times a day facing the Kaaba in Mecca, and if they are able, they will make a Pilgrimage, or "hajj", there at least once in their lives. • At the time before Islam, the Kaaba was used to house about 360 idols for the various tribes of Arabia. The Prophet Muhammad was against idol worship and preached that there was one God (Allah). This started the hostilities against him and his followers. After leaving Mecca and going to Medina, the Prophet Muhammad and his followers finally returned triumphantly into Mecca. There the Muslims destroyed the idols and rededicated the Kaaba to the one God.
  • 94. Dome of the Rock • This is the oldest Muslim building which has survived basically intact in its original form. It was built by the Caliph Abd al-Malik and completed in 691 CE. The building encloses a huge rock located at its center, from which, according to tradition, the Prophet Muhammad ascended to heaven at the end of his Night Journey. In the Jewish tradition this is the Foundation Stone, the symbolic foundation upon which the world was created, and the place of the Binding of Isaac. The Caliph Omar is said to have cleared the waste which had accumulated on the rock during the Byzantine period. The structure is octagonal and the dome is borne by a double system of pillars and columns. The walls, ceiling, arches, and vaults are decorated with floral images. The dome, on the inside, is covered with colored and gilded stucco.
  • 95. Dome of the Rock
  • 96. Cross section of the Dome of the Rock (Tower of David Museum)
  • 97. Dome of the Rock Interior
  • 98. Dome of the Rock • The plot of land on the elevated stone platform known as Haram Ash-Sharif on Temple Mount upon which sits the Dome of the Rock is sacred to three of the world's major monotheistic religions: Judaism, Christianity, and Islam. • The site was first consecrated by the Israelites of Exodus. Later, according to Jewish tradition, Abraham prepared to sacrifice his son Isaac upon a rock that protruded from the centre of the platform. Later still, upon the same platform, Solomon erected his temple. • For Christians, in addition to the Old Testament Jewish associations, the Temple Mount was revered because of its place in the life and ministries of Jesus Christ. • For Moslems, the rock was sanctified by the story of the Prophet Mohammed's Miraaj or Night Journey to Jerusalem and back to Mecca (Qur'an 17:1). From the top of the rock, Mohammed began his ascent to Heaven.
  • 99. Detail from Frieze, Façade of the Palace at Mshatta
  • 100. • Islamic belief in Aniconism and the doctrine of unity (al-twahid) demanded a rich vocabulary of abstract, geometric forms that translated into the architecture of mosques. • Artists reiterated these forms in complex decoration that covered the surface of every work of art from large buildings, to rugs, paintings and small sacred objects.
  • 101. Jordan, Mshatta Palace, c. 750, Plan
  • 102. Plan of Typical, Early Islamic Mosque The numbers below correspond to the circled numbers to the right. 1. Qibla wall. 2. Mihrab niche. 3. Hypostyle hall. 4. Courtyard (or "sahn"). 5. Minaret.
  • 103. The Great Mosque, Kairouan, Tunisia, 836 - 875
  • 104. The Great Mosque , Cordoba (785-786) The double horseshoe arcades of the prayer-hall
  • 105. Dome of the great mosque of Cordoba, 965
  • 106. Arches and Muqarnas Horseshoe Arches Tiled Moorish style Arches in Seville Palace, Reales Alcazares.
  • 108. Muqarnas is the Arabic word for stalactite vault, an architectural ornament developed around the middle of the tenth century in north eastern Iran and almost simultaneously, but apparently independently, in central North Africa.
  • 109. Page from Koran in kufic script, from Syria. Ink, pigments, and gold on vellum, 9th century
  • 110. Leaf from a Qur’an manuscript Ahmad ibn al- Suhravardi al-Bakri, calligrapher Muhammad ibn Aybak, illuminator Baghdad, Iraq Ilkhanid, 1307–1308 Ink, colors, and gold on paper; 20 3/16 x 14 1/2 in. (51.3 x 36.8cm)
  • 111. The most complete documentation of Samanid art is to be found in its ceramics, and during the 9th century, the wares of Transoxiana were very popular throughout the eastern provinces of Persia. The best-known and most refined pottery of this Samarkand type is that bearing large inscriptions in Kufic (the earliest version of Arabic script used in the Koran, named after the city Kufa in Iraq) painted in black on a white background.
  • 112. Part of the St. Josse silk, Khorasan 10th century. The inscription wishes 'glory and prosperity to Abu Mansur Bukhtegin, may God prolong (His favours to him?)'.
  • 113. Mosque lamps • Throughout the Islamic world, mosques and other religious structures were frequently illuminated with oil lamps suspended from the rafters or ceiling. During the fourteenth century, hundreds of such lamps were commissioned by the powerful Mamluk ruler and patron of the arts, Sultan Hasan (reigned 1344–51 and 1354–61), for his vast religious complex in Cairo.
  • 114. • These mosque lamps were elaborately decorated with paint, gilt, and enamel, and often included the sultan's name as symbolic representations of a specific Koranic verse (sura 24, verse 35), known as the Light verse, which encircles the tall neck of the lamp. • They provided light by means of a wick placed in a container of oil within the lamp.
  • 115. Egypt, Mamuk dynasty, about 1350-5 glass, enameled and gilded
  • 116. • The lamps are also decorated with a bold inscription frieze containing the name and titles of Sayf al-Din Shaykhu al-Nasiri, an important patron of art and architecture in Cairo. His heraldic device incorporating a red cup appears in the centre of the roundels on the neck and the underside of the lamp.
  • 117. Isfahan is already a city of ancient history and considerable wealth when Shah Abbas decides, in 1598, to turn it into a magnificent capital. It has a Masjid-i-Jami, or Friday Mosque, dating from the Seljuk period (11th-12th century), still surviving today and noted for its fine patterned brickwork. And it has a thriving school of craftsmen skilled in the making of polychrome ceramic tiles.
  • 118. Islamic Terms • Mihrab - A mihrab is a niche in the wall which points the worshipers toward Mecca. • Minbar - A minbar is a "pulpit", or a place from which a religious leader (an "imam") speaks to the people. It looks something like a staircase. • Minarets - Minarets are towers of a mosque. From the minaret a person (a "muezzin") calls people to prayer five times a day.
  • 119. Mihrab Isfahan, Iran Ilkhanid, 1354 Mosaic of monochrome-glaze tiles on composite body set on plaster; 135 1/16 x 113 11/16 in.
  • 120. Egypt, Cairo, Mihrab and Minbar of the Mosque of Sultan Hasan, 1356- 1360. This liwan, or niche is the side of the mosque used as a madrasa by the Shafi, one of the four schools of Islamic legal and theological thought.
  • 122. Five Pillars of Islam Art and Context • The Five Pillars of Islam are core beliefs that shape Muslim thought, deed, and society. A Muslim who fulfills the Five Pillars of Islam, remains in the faith of Islam, and sincerely repents of his sins, will make it to Jannah (paradise). If he performs the Five Pillars but does not remain in the faith, he will not be saved.
  • 123. The First Pillar • Shahada • The Shahada is the Islamic proclamation that "There is no true God except Allah and Muhammad is the Messenger of Allah." • This is the confession that Allah is the one and only true God, that Allah alone is worthy of worship, that Allah alone is the sovereign lord who does what he wills with whoever he wills. It means that all his rules and laws found in the Koran are to be followed. It means that the Christian doctrine of God as a Trinity is false as are all other belief systems including pantheism. • Muhammad is the true and greatest prophet of Allah and recognition of Muhammad as the Prophet of God is required. It was through Muhammad that Allah conveyed the last and final revelation.
  • 124. The Second Pillar • Prayer (Salat) • Prayer involves confession of sins which begins with the purification of the body and ends with the purification of the soul. Prayer is performed five times a day. The first prayer is at dawn and the last at sunset. • The names of the prayers are Fajr, Dhuhr, Asr, Maghrib, Isha. The Maghrib prayer is the sunset prayer. Isha is the prayer that is said after sunset. There is also a prayer that is said right after Fajr known as Shurooq.
  • 126. Third Pillar • Fasting (Saum) • The month of Ramadan is the month of fasting in Islam. It is an act of worship where the faithful follower denies his own needs and seeks Allah. Usually, this fasting entails no drinking or eating during the daylight hours for the entire month of Ramadan.
  • 127. Fourth Pillar • Alms-giving or charity (Zakat) • Charity given to the poor. It benefits the poor and it helps the giver by moving him towards more holiness and submission to Allah. Alms-giving is considered a form of worship to God.
  • 128. Fifth Pillar • Pilgrimage (Hajj) • This is the pilgrimage to Mecca. All Muslims, if they are able, are to make a pilgrimage to Mecca. It involves financial sacrifice and is an act of worship. Muslims must make the pilgrimage the first half of the last month of the lunar year
  • 129. Muqarnas dome, Hall of the Abencerrajes, Palace of the Lions, built between 1354 - 1391
  • 130. Portable Arts • Metal Work – inherited skills of the Roman and Byzantine craftsmen • Ceramics – development of lustrous metallic surface • Textiles – traditional silk weaving passed from Persian to Islamic artisans
  • 131. Griffin. Fatimid, (Egyptian), Islamic 11th century
  • 132. Pen box, 13th century Western Iran or northern Iraq (al-Jazira) Brass inlaid with gold and silver; H. 1 5/8 in. (4.1 cm), L. 8 3/4 in. (22.2 cm)
  • 133. • Muslim metalworkers produced large numbers of pen boxes, many of which were richly decorated with inlays of gold, silver, and copper. A typical medieval Islamic calligrapher's pen box is an elongated rectangular object with rounded corners, about ten inches long, three inches wide, and two inches tall. In its simple construction, it is composed of a main body and a lid with two hinges along one of the long sides and a clasp on the opposite side. The interior includes a receptacle to hold the inkwell in one corner while the remaining space is reserved for a variety of reed pens and penknives.
  • 134. The Macy Jug, from Iran, 1215 – 16 Composite body glazed, painted fritware* and incised with pierced outer shell. 6 5/8” x 7 ¼” *a flux that is stabilized by melting it with silica and regrinding it into a fine powder
  • 135. Muslim Tapestry preserved in the Monastery of the Royal Strikes Burgos. It is called "banner of Navas de Tolosa," because it was taken by King Alfonso VIII of Castile the Almohad ben Muhammad Yaqub. Very richly decorated, upper and lower bands bearing phrases written religious significance. To the sides, the scripts are made so that they can be read by the setback of the tapestry. In the center, a star with eight points evolves in different ways to death in a circle, according to Muslim taste for geometry. The predominant colors red and gold.
  • 136. Medallion rug with a field of flowers, 17th century; Safavid Probably Kirman, Iran Wool pile on cotton, wool, and silk foundation; 81 x 56 in. (205.7 x 142.4 cm)
  • 137. Textiles • Roses, hyacinths, narcissi, campanula, irises, carnations, and lilies are among the many types of flowers that blossom in the field and borders of this carpet, which is generally attributed to the seventeenth-century production of Kirman, Iran. The flora are arranged symmetrically in pattern and color around a central octagonal medallion and four quarter medallions in the corners. The art of illumination, especially that of book covers, might have provided the inspiration for the central and corner medallion design, which was woven into so many Persian carpets. The decorative theme of the medallion has Central Asian roots and was known in the Timurid period, but its popularity greatly increased during the rule of the Safavids and beyond.
  • 138. Carpet Making • Making knotted carpets were surely regarded as a tradition in ancient Persia like in today. The oldest piece of rug in the world is an Iranian knotted one called Pazyrik (named after an area where it has been discovered in a frozen tomb in Southern Siberia). It dates back to 400- 300 B.C.
  • 140. • Iranian carpets consist of warp, weft, silk pile, wool, cotton or fuzz knotted with weft forming the flesh of carpets. In different parts of Iran, carpet makers created their own styles and schools. Techniques were sometimes different from tribe to tribe or city to city.
  • 142. • Plain flat-weave or kilim weave implies a tapestry-like flat woven structure. The coloured woollen threads forming the motifs are interwoven across the warps, not from edge to edge, but only where the pattern and colour make it necessary. The result is a thinner, soft yet hardy reversible tapestry-like weave.
  • 143. Symmetrical Knot, used extensively in Iran
  • 144. Asymmetrical knot used extensively in Turkey
  • 145. Manuscripts and painting • Calligraphy is the most highly regarded and most fundamental element of Islamic art. It is significant that the Qur’an, the book of God's revelations to the Prophet Muhammad, was transmitted in Arabic, and that inherent within the Arabic script is the potential for developing a variety of ornamental forms. The employment of calligraphy as ornament had a definite aesthetic appeal but often also included an underlying talismanic component. While most works of art had legible inscriptions, not all Muslims would have been able to read them. One should always keep in mind, however, that calligraphy is principally a means to transmit a text, albeit in a decorative form.
  • 146. • Objects from different periods and regions vary in the use of calligraphy in their overall design, demonstrating the creative possibilities of calligraphy as ornament. In some cases, calligraphy is the dominant element in the decoration. In these examples, the artist exploits the inherent possibilities of the Arabic script to create writing as ornament. An entire word can give the impression of random brushstrokes, or a single letter can develop into a decorative knot. In other cases, highly esteemed calligraphic works on paper are themselves ornamented and enhanced by their decorative frames or backgrounds. Calligraphy can also become part of an overall ornamental program, clearly separated from the rest of the decoration. In some examples, calligraphy can be combined with vegetal scrolls on the same surface though often on different levels, creating an interplay of decorative elements.
  • 147. • Consisting of, or generated from, such simple forms as the circle and the square, geometric patterns were combined, duplicated, interlaced, and arranged in intricate combinations, thus becoming one of the most distinguishing features of Islamic art. However, these complex patterns seem to embody a refusal to adhere strictly to the rules of geometry. As a matter of fact, geometric ornamentation in Islamic art suggests a remarkable amount of freedom; in its repetition and complexity, it offers the possibility of infinite growth and can accommodate the incorporation of other types of ornamentation as well. In terms of their abstractness, repetitive motifs, and symmetry, geometric patterns have much in common with the so-called arabesque style seen in many vegetal designs. Calligraphic ornamentation also appears in conjunction with geometric patterns.
  • 148. • The four basic shapes, or "repeat units," from which the more complicated patterns are constructed are: circles and interlaced circles; squares or four-sided polygons; the ubiquitous star pattern, ultimately derived from squares and triangles inscribed in a circle; and multisided polygons. It is clear, however, that the complex patterns found on many objects include a number of different shapes and arrangements, allowing them to fit into more than one category
  • 149. Leaf from a Qur’an, 1302–8; Ilkhanid Iraq (Baghdad) Ink, gold, and colors on paper; 17 x 13 7/8 in. (43.2 x 35.2 cm)
  • 150. • This illuminated page originally formed the right half of a double-page opening to a section of a Qur’an. It combines the three main Islamic types of nonfigural decoration: calligraphy, vegetal patterns, and geometric patterns. The vegetal patterns here are the classical scrolls utilized as the background to the calligraphy, within the compartments of the geometric interlace, and in the text frame and margin medallion. Two ground colors are used to introduce additional patterning.
  • 151. The Ottoman Empire • The empire they built was the largest and most influential of the Muslim empires of the modern period, and their culture and military expansion crossed over into Europe. Not since the expansion of Islam into Spain in the eighth century had Islam seemed poised to establish a European presence as it did in the sixteenth and seventeenth centuries. Like that earlier expansion, the Ottomans established an empire over European territory and established Islamic traditions and culture that last to the current day (the Muslims in Bosnia are the last descendants of the Ottoman presence in Europe).
  • 153. • The Ottoman empire lasted until the twentieth century. While historians like to talk about empires in terms of growth and decline, the Ottomans were a force to be reckoned with, militarily and culturally, right up until the break-up of the empire in the first decades of this century. The real end to the Ottoman culture came with the secularization of Turkey after World War II along European models of government. The transition to a secular state was not an easy one and its repercussions are still being felt in Turkish society today; nevertheless, secularization represents the real break with the Ottoman tradition and heritage.
  • 154. The mosque was commissioned by Sultan Selim II and was built by architect Mimar Sinan between 1568 and 1574. It was considered by Sinan to be his masterpiece and is one of the highest achievements of Islamic The Selimiye Mosque (Turkish: architecture. Selimiye Camii) is a mosque in the city of Edirne, Turkey.
  • 155. Sinan (1489 -1588) • Prolific and brilliant master-architect of the Ottoman Empire, holding responsibilities for an enormous range of public works. One of his greatest buildings was the Süleymaniye Mosque in Istanbul (1550–7) which shows how much he had absorbed of Byzantine forms and construction, especially those of the Church of Hagia Sophia, but Sinan improved and rationalized the system of buttressing for the central dome, and clarified the subsidiary elements.
  • 156. Interior, Mosque of Sultan Selim
  • 157. Illuminated Manuscripts and Tugras • A peculiarly Ottoman Turkish phenomenon is the calligraphic "tughra" (handsign), unique to each sultan, which gives his name and titles and appears at the head of every firman (royal edict). The spectacularly bold calligraphy contrasts with the dense yet delicate flowering plants, arabesques, and floral scrolls.
  • 158. Tughra of Sultan Sulaiman the Magnificent, 16th century; Ottoman period (c.1555-60) attributed to Istanbul, Turkey Ink, colors and gold on paper; H: 20 1/2 in. W: 25 3/8 in.
  • 159. Chapter 14 Early Medieval Art In Europe
  • 160. • The term Middle Ages refers mainly to the history of Christian and Jewish Europe between the fall of Rome and the Renaissance, around 400-1500 AD. Historians usually divide this into three smaller periods, the Early Middle Ages, the High Middle Ages, and the Late Middle Ages.
  • 162. The Visigoths • Also known as the Goths, were a barbaric tribe. Living on the delta of the Danube River, their kingdom was inherited by Alaric I.
  • 163. Eagle Brooch Spain 6th Century. Gilt, Bronze, crystal, garnets, and other gems. 5 1/2”
  • 164. The Norse • The last great waves of European migrations began in the eighth century and picked up dramatically in the ninth and tenth centuries. This time it was a group of relatively sedentary Germanic tribes in the northernmost reaches of Europe, the Norsemen. These were really not one ethnic group, but an entire spectrum of peoples speaking many different languages. For all that, the principal Norsemen that raided and emigrated out of Northern Europe were Norwegians and Danish. Again, however, these are not single ethnic groups—the Danes, for instance, were an entire set of different peoples.
  • 165. The Celts and Anglo-Saxons • Europe throughout most of the historical period was dominated by a single cultural group, a powerful, culturally diverse group of peoples, the Celts. By the start of the Middle Ages, the Celts had been struck on two fronts by two very powerful cultures, Rome in the south, and the Germans, who were derived from Celtic culture, from the north. • This monolithic culture spread from Ireland to Asia Minor (the Galatians of the New Testament). The Celts even sacked Rome in 390 BC and successfully invaded and sacked several Greek cities in 280 BC. Though the Celts were preliterate during most of the classical period, the Greeks and Romans discuss them with disdain.
  • 166. • The Angle, Saxon, and Jute tribes who invaded Britain in the 5th and 6th centuries are known as the Anglo-Saxons. They left their homelands in northern Germany, Denmark and northern Holland and rowed across the North Sea in wooden boats.
  • 167. Gummersmark brooch, Denmark. 6th century. Silver gilt, height 5" (14.6 cm). Nationalmuseet, Copenhagen
  • 168. Purse cover, from the Sutton Hoo burial ship, Suffolk, England. c. 615 - 30. Cloisonné plaques of gold, garnet, and checked enamel, length 8" (20.3 cm). The British Museum, London.
  • 169. Man (symbol of St Matthew), from Book of Durrow. c. 660-680
  • 170. Chi Rho Iota page, Book of Matthew, Book of Kells. Tempera on velum, late 8th or early 9th century
  • 171. Probably the earliest group of ringed high crosses, the Ossory group includes these two fine high crosses, the North and South Cross at Ahenny in Co Tipperary. Found at the monastic site of Kilclispeen these two crosses imitate the earlier wooden crosses which were encased with a metal binding, the stone bosses imitate the studs which would have covered the rivets that held the metal and wooden crosses together.
  • 172. Left: Began by Maius of Escalade, finished by Emeterius, “Emeterius and Senior next to the Tower of Tabara,” Tabara Apocalypse, 970 Right: Heavenly Jerusalem from the Morgan Beatus, ca. 940-945
  • 173. Battle of the Bird and the Serpent, Commentary on the Apocalypse by Beatus and Commentary on Daniel by Jerome. Monastery of San Salvador at Tabara, Leon, Spain July 6, 975 Tempera on Parchment 15 ¾” x 10 ¼”
  • 174. Charlemagne’s Palace • The creation of a "New Rome" was Charlemagne's guiding vision when he began the construction of the Palace Chapel in the former Roman spa resort Aachen (Aix-la-Chapelle) in ca. 786 - laying the foundation stone for one of Europe's oldest Northern stone buildings. The cathedral obtained its present shape in the course of more than a millennium. The core of the Aachen cathedral is the formerly mentioned Palace Chapel - at the time of its construction it was the largest church north of the Alps. Its fascinating architecture with Classical, Byzantine and Germanic-Franconian elements is the essence of a monumental building of greatest importance. It was modeled after the Church of San Vitale in Ravenna. For 600 years, from 936 to 1531, Aachen cathedral was the church of coronation for 30 German kings. In order to bear the enormous flow of pilgrims in the Gothic period a choir hall was built: a two-part Capella vitrea (glass chapel) which was consecrated on the 600th day of Charlemagne's death.
  • 175. Interior of the Palatine Chapel of Charlemagne, Aachen, Germany. 792-805 In 786-787 A.D. Pope Hadrian authorized Charlemagne to transport marble from Italy to Aachen. In 798, the precious ancient columns were erected in the church. The delivery of the relics in 799 / 800 assured the completion of the building.
  • 176. Cutaway view of the Palatine Chapel of Charlemagne, Aachen
  • 178. Monastery church of St Riquier, Centula, France. c. 800
  • 179. Schematic plan for monastery at St. Gall, Switzerland. c. 819
  • 180. St. Matthew from the Coronation Gospels, 795-819 A.D.
  • 181. St Matthew, from the Ebbo Gospels. c. 816-835 ink and tempera on vellum, 10 1/4 x 8 3/4"
  • 182. Illustrations to Psalms 43 and 44, from the Utrecht Psalter. c. 820 - 832
  • 183. 43:22 “Because for thy sake we are killed all the day long: we are counted as sheep for the slaughter”; 43:23: “Arise, why sleepest thou, O Lord?”; 43:25: “For our soul is humbled down to the dust: our belly cleaveth to the earth.”
  • 185. Crucifixion, front cover of Lindau Gospels. c. 870 Early Medieval (Carolingian) Gold, precious stones, and pearls, 1' 1 3/8" x 10 3/8"
  • 186. Viking Era • Nearly all Viking Age art is applied art, that is, the decoration of a wide variety of objects used in daily life. However, woodcarvers, sculptors and metalworkers brought a dynamism and inventiveness to their task which has left a rich legacy of extravagant animal ornament.
  • 187. • Most of the finest surviving examples of art from the early Viking Age have been found in graves, especially on jewelry and weapons, while later Viking art is best represented on objects from silver hoards, from the developing towns and on the Scandinavian runestones. There are also small-scale carvings in other materials - amber, jet, bone, walrus ivory and, where it survives, wood - which remind us both of the skills of the Scandinavian craftsmen and of how well suited Viking Age animal motifs were to their purpose.
  • 188. Oseberg ship of Oseberg ship-burial. 1st half 9th century
  • 189. Gripping Beasts, Detail of Oseberg Ship c. 815 - 820
  • 190. Royal Rune Stone, Ordered by King Harald Bluetooth Jelling, Denmark. 983 – 985. Granite height about 8’
  • 191. Carved as memorials to King Gorm "the Old" and Queen Thyri, over a thousand years ago, these two stones stand in the yard of a Romanesque church in Jelling, Denmark, an old Viking royal site. One of the stones, the smaller one, is considered to be the birth certificate of Denmark. Inscribed in Old Norse, Younger Futhark, a form of Germanic Celtic Ogham, the oldest of the Rune Stones was raised by the first King of all of Danmark, King Gorm the Old, in memory of his wife Thyra (Thyrvé) who he referred to as Denmark's Salvation.
  • 192. The largest of the Rune Stones was raised by the son of King Gorm and Queen Thyra, Harald Bluetooth, in their memory. It celebrates the union of Danmark and Norway; as well as, the offspring of their Sangreal Christ Lineage. The Danes were followers of the true teachings of Christ under the auspices of Apostle Mary Magdalene, and the Gospel according to Mary; rather than, the teachings of Apostle Peter and the prevailing by brute force Christian doctrine of the times.
  • 193. • Originally painted in bright colours, one side of the largest Rune Stone had a figure of Christ. The other side of the Rune Stone had the image of a snake (DNA Spiral, Genetic Coded Bloodline) entwined about a lion (Symbol of Ra Royalty). A symbolic code left behind for the discerning that King Gorm and Queen Thyra were of Sangreal Lineage of the royal bloodline of Jesus The Christ and his companion wife Mary of Magdalene.
  • 194. Viking History • Seafaring bands of Norse seamen known as Vikings (Viken, “people from the coves”) descended on the rest of Europe. Frequently their targets were wealthy isolated Christian monasteries. • The Viking Leif Eriksson reached North America in 1000. In good weather a Viking ship could sail 200 miles in a day.
  • 195. There are 28 stave churches left standing in Norway, dating from c.1130 and onwards, with elements of older origin. What we see are the structural consequences of the builders' actions
  • 196. The north portal of the Urnes stave church (11th cent.): "The intertwined snakes and dragons represent the end of the world according to the Norse legend of Ragnarök".
  • 197. Built just before 1150, and dedicated to the Apostle St. Andrew. It is one of the best preserved stave churches and it has not been added or rebuilt since it was new. The pulpit is from the last period of the 1500’s. The altar-piece is from 1620. On the church walls are found several runic inscriptions. Two of them are dated back to the middle of the 1100’s. They read: "Tor wrote these runes in the evening at the St. Olav’s Mass" and "Ave Maria" BORGUND STAVE CHURCH
  • 198. Ottonian Europe • Otto I or the Great is considered by many historians to be the founder of the Holy Roman Empire. He was an effective military warrior who encouraged military expansion, colonization, and missionary activity eastward into the Slavic world. His campaign was to restore kingship on the Carolingian model.
  • 199. • Succeeding his father Henry I as the Duke of Saxony in 936, his military genius was tested early. Otto I faced the continuous raids and sieges of the dukes, the Ducal Rebellions, which were led by his brother Henry of Bavaria. The war was the result of him acquiring an increasing amount of power that others resented. It ended with Otto's victory in 941 in which he replaced the rebellious dukes with his own relatives, thus compelling them to accept royal over lordship. In 951, he commanded a successful invasion of Italy and declared himself King. Magyars invaded the empire in 954, and this invasion forced the nobility to reunite with Otto in order to defend themselves. He was able to defeat the Magyars in the battle of Lechfield in 955 and this temporarily restored peace throughout his empire.
  • 200. • In order to unify and control the major territories of Germany, he established the Church-State Alliance; this strengthened his power and decreased the power of the duchies. He gave large grants of royal land to bishops and abbots, who became his royal vassals and were obligated to provide him with military and political services. It was successful for both the Church and the State because it had church officials ruling the land, but allowed Otto the power to appoint them.
  • 201. • Otto was crowned Roman Emperor in 962 by Pope John XII, the same office Charlemagne held in 800. Pope John XII eventually turned against Otto and his increasing power, so the papacy was taken away from him. Otto then imposed the rule that no pope could be elected without the approval of the emperor. This proclamation opened an era of German domination of the papacy and, in effect, made him the head of the Christian community. • Otto died in 973 and was succeeded by his son Otto II. His policies continued with success until 1056. Many people believe that Otto revived the Roman Empire and consider him one of the greatest Saxon rulers.
  • 203. Ottonian Architecture • Near Quedlinburg in Gernrode stands the only almost entirely preserved church from the early Ottonian period, the Collegiate Church of St. Cyriakus. The decorations that the master masons of the Romanesque created here are still unparalleled. Even though almost no right angles were used in the architecture of the church it has still survived for over thousand years.
  • 204. Church of Saint Cyriakus Gernrode, Germany 961-973
  • 205. Nave, Church of Saint Cyriakus
  • 206. Doors of Biship Bernward Made for the Abbey Church of St. Michael, Hildesheim, Germany
  • 208. Bronze doors of St. Michael’s Story of Adam and Eve and Life of Christ
  • 209. Ottonian Sculpture • The Gero Cross reintroduced into Western sculpture the modeled-in-the-round technique that had practically disappeared after the Classical period. The crucifix has a monumental scale of 6’2”. It demonstrated the deep suffering of Christ. What is striking about this image is the note of emotionalism and naturalism that is seen in the forward bulge of the body that shows the physical strain on the arms and shoulders. The face expresses the agony that was felt before death, but is now left lifeless. The horror of the martyr’s tortured death is exposed. Archbishop Gero presented the crucifix to the Cathedral. It functions as both sculpture and a reliquary, where the Eucharist is held in a receptacle in the head.
  • 210. Gero Crucifix Cologne (Köln) Cathedral, Germany ca. 970 Painted and gilded wood
  • 211. Ottonian Sculpture • Ottonian religious sculpture is monumental in scale and executed with clear, round forms and highly expressive facial features. The wooden Gero Crucifix (969-76; Cologne Cathedral) reflects a humanitarian concern for the sufferings of Jesus. Sophisticated relief bronzes were cast for the cathedral doors at Hildesheim (1015). Ottonian manuscript illumination was superbly developed; produced at several flourishing artistic centers, including Regensburg and Fulda, it combined Carolingian and Byzantine influences. Manuscripts such as the Gospel Book of Otto II are two-dimensional, figural, and linear, incorporating much gold leaf.
  • 212. Page with Otto III enthroned, Liuthar Gospels (Aachen Gospels) Germany, c. 997-1000. Ink, gold, and Tempera on vellum, 11" X 8 ½".
  • 213. • From the so-called Aachen Gospels made for Otto III about the year 996. Otto III was the heir to the Ottonian dynasty. The Ottonians were heirs to the Carolingians. In the tenth century the Ottonians revived the disintegrated Holy Roman Empire. The dominion of the Ottonians was not as extensive as the Carolingians. Their territories included Germany and northern Italy. Like the image from the Codex Aureus, this image is based on the Book of Revelation. The central figure here is Otto who is in the guise of Christ. In a detail not shown in the Codex Aureus image, the Revelation passage describes that the Lamb appeared surrounded by Four Beasts.
  • 215. ROMANESQUE EUROPE (c. 1000-1200) • Romanesque appears to have been the first pan-European style since Roman Imperial Architecture and examples are found in every part of the continent. One important fact pointed out by the stylistic similarity of buildings across Europe is the relative mobility of medieval people. Contrary to many modern ideas of life before the Industrial Revolution, merchants, nobles, knights, artisans, and peasants crossed Europe and the Mediterranean world for business, war, and religious pilgrimages, carrying their knowledge of what buildings in different places looked like.
  • 216. Monastery of Santo Domingo de Silos, Spain. Capitol detail c. 1100
  • 217. • The Romanesque was not confined only to architecture. It was accompanied by changes in design for woodworking seen, for instance in, chests and cupboards. The exterior of the book changes at this time, and as does manuscript design as scribes start to use a new clear style of writing (Caroline minuscule). Texts are set among intricate spirals and elaborate and finely-drawn nature motifs. This became an international graphic style, influencing even Jewish illuminated manuscripts. In western painting, mosaic and fresco design, from around 1150 a spirit emerged across Europe. This attempted to revive the styles of the art of classical antiquity, and yet it also drew heavily on ancient Christian Celtic and Byzantine arts.
  • 218. The Main Characteristics of the Style • A combination of masonry, arch and piers is the basis of the Romanesque style. The main concept for buildings was the addition of pure geometrical forms. The new concept of stone vaulting required stronger walls for support. Because of the lack of knowledge of the building statics it was necessary to build strong, thick walls with narrow openings.
  • 219. • The Pier (an upright support generally square, or rectangular in plan) is a better solution for masonry walls, than the column. Columns are subsequently replaced by piers, or transformed to better support the masonry arches. Geometrisation and rigidity in Romanesque architecture is evident in the transformation of column capitals from Corinthian to cubic capitals, as found in the church of St.Michael, Hildesheim. There is also one new element in the capitals developed during Romanesque period - the impost. It's a trapezoid form which stands between capital and arch.
  • 220. Some important aspects of Romanesque architecture • “Romanesque” is the first international style since the Roman Empire. • Competition among cities for the largest churches, which continues in the Gothic period via a “quest for height.” • Masonry (stone) the preferred medium. Craft of concrete essentially lost in this period. • Rejection of wooden structures or structural elements. • East end of church the focus for liturgical services. West end for the entrance to church.
  • 221. • Church portals as “billboards” for scripture or elements of faith. • Cruciform plans. Nave and transept at right angles to one another. Church as a metaphor for heaven. • Elevation of churches based on basilican forms, but with the nave higher than the side aisles. • Interiors articulated by repetitive series of moldings. Heavy masonry forms seem lighter with applied decoration. • Bays divide the nave into compartments • Round-headed arches the norm. • Tripartite division of the elevation continues from the earlier periods.
  • 224. • The Romanesque period, from roughly 1000 to 1137 A.D., has been dubbed the "Period of the Church Triumphant." It was during these years that the Catholic Church was able to unify Western Europe in a manner unparalleled since Roman times. This is the Age of Monasticism, when vast monastic settlements like Cluny were becoming the focus of both the religious and scholarly life of the Romanesque populace.
  • 225. • This is also the Age of the Crusades, when Western Christians sought to "liberate" the Holy Lands. Both of these features (monasticism and the Crusades) spurred the economy, for the churches required mighty building campaigns and the Crusaders (as a consequence of their mobility) opened up new trade routes and spurred commerce. It has been noted that the cosmopolitan quality of Romanesque culture was reminiscent of Roman imperial times; it is equally appropriate to compare the unifying power of the Pope during the 11th century A.D. with that of the Roman Emperor. There are good cultural reasons, thus, for naming this period "Romanesque."
  • 226. Political and Economic Life The social and economic classes become vividly clear in the Worcester Chronicle, which depicts the three classes of Medieval society: • King and Nobles • Churchmen • Peasant farmers
  • 227. King Henry I's Dream in the Chronicle of John of Worcester. The author died in 1140 AD so it's from before that. Original work by John of Worcester.
  • 228. King Henry I and his Court returning to England from The Chronicle of John of Worcester
  • 229. Intellectual Life • The 11th and 12th centuries were a time of intellectual rebirth as Western scholars rediscovered the classical Greek and Roman texts that had been preserved in Islamic Spain and the eastern Mediterranean. The first universities were established in the growing cities – • Bologna • Paris • Oxford • Cambridge
  • 230. Romanesque Art • The word Romanesque means “In the Roman manner.” • The word was coined in the 19th century to describe European church architecture, which often displayed solid masonry walls and rounded arches and vaults characteristic of imperial Roman buildings.
  • 231. Interior, Church of Sant Vincenc, Cardona 1020s – 1030s
  • 232. Church of Sant Vincenc, Cardona 1020s – 1030s
  • 233. Pilgrimage Churches • The growth of a cult of relics and the desire to visit shrines such as Saint Peter’s in Rome or Saint James in Spain inspired people to travel on pilgrimages. Christian victories against Muslims also opened roads and encouraged travel.
  • 234. Plan of Cathedral of Saint James, Santiago De Compostela
  • 235. Durham Cathedral Durham, England early 12th century
  • 236. Reliquary Statue of St. Foy from the Auvergne region, France Silver gilt over wood core, with gems and rock crystal Late 9th century with later additions
  • 237. This complex contains a baptistry, a church and a bell tower. The bell tower or campanile is the most famous of all. The "Leaning tower of Pisa" is 6 stories of arcaded galleries. Round arches were a Roman inspiration. The foundation lies on tufu and is sinking. Efforts have been tried to raise it upright. Most of them have been disastrous and nearly destroyed the tower, such as when they flooded the foundation with water to "float" the tower, which only made it lean more. It is 13 feet out of plumb.
  • 238. • The Baptistry of Pisa is part of the church complex, and as with most baptistries, is usually round or octagonal in shape. The sacrament of baptism is administered. Inside is a baptismal front, a receptacle of stone or metal which holds water for the rite. **NOTE: The baptistry also kept accurate population records in bean jars, a jar for girls and a jar for boys. As one is born or dies the bean is added or subtracted from the jar.
  • 239. Church of Saint-Étienne Caen, France 1067-1120
  • 240. Church of Sant’Ambrogio Milan, Italy 1080-1117
  • 241. Creation and Fall Wiligelmus, sculptor Modena Cathedral Modena, Italy 1106-1120
  • 243. Cathedral of Saint-Lazare West Portal Last Judgment Autun, France ca. 1120-1135
  • 244. Cathedral of Saint-Lazare West Portal Last Judgment
  • 245. Church of Saint-Pierre Moissac, France South Portal ca. 1115-1130
  • 246. Trumeau figure— the Prophet Jeremiah
  • 247. Virgin and Child from the Auvergne region of France Painted wood late 12th century
  • 248. Batlló Crucifix from Catalonia, Spain Painted wood mid 12th century
  • 249. Church of Saint-Savin-sur- Gartempe France ca. 1100
  • 250. Christ in Majesty Church of San Clemente, Lérida, Spain Fresco ca. 1123
  • 251. The Bayeux Tapestry England or France wool embroidery on linen ca. 1066-1082
  • 252. The Bayeux Tapestry - detail
  • 254. Hildegard and Volmer Liber Scivias (reproduction) 1165-1175
  • 255. Cast bronze baptismal font by Renier de Huy, 1107–18. In the church of Saint- Barthélemy, Liège, Belgium. Height 64 cm.
  • 256. Romanesque metalwork • In the 12th century the church supplanted secular rulers as the chief patron of the arts, and the work was carried out in the larger monasteries. Under the direction of such great churchmen as Henry, bishop of Winchester, and Abbot Suger of Saint- Denis, near Paris, a new emphasis was given to subject matter and symbolism.
  • 257. • Craftsmen were no longer anonymous; work by Roger of Helmarshausen, Reiner of Huy, Godefroid de Claire (de Huy), Nicholas of Verdun, and others can be identified; and the parts they played as leaders of the great centers of metalwork on the Rhine and the Meuse are recognizable. Their greatest achievement was the development of the brilliant champlevé enameling, a method that replaced the earlier cloisonné technique. Gold and silver continued to be used as rich settings for enamels; as the framework of portable altars, or small devotional diptychs or triptychs; for embossed figure work in reliquary shrines; and for liturgical plate.
  • 258. • The masterpieces of the period are great house-shaped shrines made to contain the relics of saints; for example, the shrine of St. Heribert at Deutz (c. 1160) and Nicholas of Verdun's Shrine of the Three Kings at Cologne (c. 1200). In the latter, the figures are almost freestanding, and in their fine, rhythmic draperies and naturalistic movement they approach the new Gothic style.
  • 259. Detail of baptismal font by Renier de Huy
  • 260. Page with the Tree of Jesse Explanatio in Isaiam (St. Jerome’s commentary on the book of Isaiah) Burgundy, France ca. 1125
  • 261. Page with Hellmouth (Angel locking the gates of Hell) Winchester Psalter Winchester, England ca. 1150
  • 262. Page with self-portrait of the nun Guda Book of Homilies from Germany early 12th century First self-portrait of a Woman artist.
  • 263. Gothic Art of the Twelfth and Thirteenth Centuries Chapter 16
  • 264. Abbey Church of Saint-Denis Ambulatory and choir Saint-Denis, France 1140-1144
  • 265. Abbey Church of Saint-Denis Saint-Denis, France 1140-1144
  • 266. Rib Vaulting • The barrel-vaulted spaces of early Romanesque naves covered vast spaces and were relatively fireproof. But the barrel vaults failed in one critical requirement—lighting. Due to the great outward thrust the continuous semicircular vault exerted, a clerestory was difficult (but not impossible) to construct. A more complex and efficient type of vaulting was needed. Structurally, the central problem of Romanesque architecture was the need to develop a masonry vault system that admitted light.
  • 267. • A major advantage of the Gothic vault is its flexibility, which permits the vaulting of compartments of varying shapes. Pointed arches also channel the weight of the vaults more directly downward than do semicircular arches. The vaults, therefore, require less buttressing to hold them in place, in turn permitting the opening up of the walls beneath the arches with large windows. Because pointed arches also lead the eye upward, they make the vaults appear taller than they actually are. Both the physical and the visual properties of rib vaults with pointed arches aided Gothic architects in their quest for soaring height in church interiors.
  • 269. Chartres Cathedral West façade ca. 1134-1220 (note that left [north] tower is much later than right [south] tower)
  • 273. West (Royal) portal Chartres Cathedral ca. 1145-1155
  • 274. Column figures of West Portal Chartres Cathedral Prophets and ancestors of Christ 1145-1155
  • 275. South Transept entrance Chartres Cathedral Saints 1210-1235
  • 277. Chartres Cathedral of Notre Dame Glass W facade: Passion window, Life of Christ, Tree of Jesse (L to R) c. 1134
  • 278. The oldest complete Jesse Tree window is in Chartres Cathedral, 1145.
  • 279. The north rose window in Chartres Cathedral, Chartres, France
  • 280. How were stained glass windows made? • The earliest examples of windows with figurative scenes are known from St. Remi in Reims from around the year 1000. Glass is a mixture of silicic acid and metal oxides, which solidifies after melting. It consists of up to 70% silicic acid, with up to 20% alkali's for durability and soda for fluidity.
  • 281. • The only colors available in the Middle Ages were saffron-yellow, purplish-red, green, blue and copper-red. Miniatures often provided the models for the stained glass windows. One cut the small colored glass panes to size and then painted them with black solder/flux? (Schwarzlot), a mixture of iron and copper powder. After 1300 silver solder/flux? (Silberlot) was also available, which allowed for a new range of colors, for example light yellow and reddish-yellow. The colors were melted onto the glass. The panes could be leaded as soon as they had cooled. The pliable lead strips could be easily bent to shape. The lead grid had to be carefully applied, as it provided the frame for the pictorial design. Any cracks were then filled with clay. Generally the complete window would then be inserted into the masonry window frame and fixed with mortar.
  • 282. Creating stained glass windows • The first stage in the production of a window is to make, or acquire from the architect or owners of the building, an accurate template of the window opening that the glass was to fit. • The subject matter of the window is determined to suit the location, a particular theme, or the whim of the patron. A small design called a Vidimus is prepared which can be shown to the patron.
  • 283. • A traditional narrative window has panels which relate a story. A figurative window could have rows of saints or dignitories. Scriptural texts or mottoes are sometimes included and perhaps the names of the patrons or the person as whose memorial the window is dedicated. In a window of a traditional type, it is usually at the discretion of the designer to fill the surrounding areas with borders, floral motifs and canopies. • A full sized cartoon is drawn for every "light" (opening) of the window. A small church window might typically be of two lights, with some simple tracery lights above. A large window might have four or five lights. The east or west window of a large cathedral might have seven lights in three tiers with elaborate tracery. In Medieval times the cartoon was drawn straight onto a whitewashed table, which was then used for cutting, painting and assembling the window.
  • 284. • The designer must take into account the design, the structure of the window, the nature and size of the glass available and his own preferred technique. The cartoon is then be divided into a patchwork as a template for each small glass piece. The exact position of the lead which holds the glass in place is part of the calculated visual effect. • Each piece of glass is selected for the desired color and cut to match a section of the template. An exact fit is ensured by grozing the edges with a tool which can nibble off small pieces. • Details of faces, hair and hands can be painted onto the inner surface of the glass in a special glass paint which contains finely ground lead or copper filings, ground glass, gum Arabic and a medium such as wine, vinegar or (traditionally) urine. The art of painting details became increasingly elaborate and reached its height in the early 20th century.
  • 285. • Once the window is cut and painted, the pieces are assembled by slotting them into H-sectioned lead cames. The joints are then all soldered together and the glass pieces are stopped from rattling and the window made weatherproof by forcing a soft oily cement or mastic between the glass and the cames. • Traditionally, when the windows were inserted into the window spaces, iron rods were put across at various points, to support the weight of the window, which was tied to the rods by copper wire. Some very large early Gothic windows are divided into sections by heavy metal frames called ferramenta. This method of support was also favored for large, usually painted, windows of the Baroque period. • From 1300 onwards, artists started using silver stain which was made with silver nitrate. It gave a yellow effect ranging from pale lemon to deep orange. It was usually painted onto the outside of a piece of glass, then fired to make it permanent. This yellow was particularly useful for enhancing borders, canopies and haloes, and turning blue glass into green glass for green grass. • By about 1450 a stain known as Cousin's rose was used to enhance flesh tones.
  • 286. Notre-Dame de Paris (1163 – c. 1350) Gothic cathedral on the Île de la Cité in Paris.
  • 287. Notre-Dame de Paris (1163 – c. 1350) Gothic cathedral on the Île de la Cité in Paris. Probably the most famous Gothic cathedral, Notre-Dame is a superb example of the Rayonnant style. Two massive Early Gothic towers (1210 – 50) crown the western facade, which is divided into three stories and has doors adorned with Early Gothic carvings and surmounted by a row of figures of Old Testament kings. The single-arch flying buttresses at the eastern end are notable for their boldness and grace. Its three great rose windows, which retain their 13th-century glass, are of awe-inspiring beauty.
  • 288. The Rayonnant Style • The glass is heavily colored, the masonry heavily painted, and there is much carved detail. One of the characteristics of the second half of the 13th century is that glass became lighter, painting decreased, and the amount of carved decoration dwindled. Thus, in its chronological context, the Sainte-Chapelle is a Janus-like building--Rayonnant in its architecture but, in some ways, old-fashioned in its decoration.
  • 289. • In a sense, the Rayonnant style was technically a simple one. Depending, as it did, not primarily on engineering expertise or on sensitivity in the handling of architectural volumes and masses but on the manipulation of geometric shapes normally in two dimensions, the main prerequisites were a drawing board and an office.
  • 290. Romanesque vs. Gothic (Abbey of St. Etienne, Caen) Nave (1064-1120) Choir (c. 1200) Clerestory Triforium Main arcade Vaulting
  • 291. Rayonnant: St. Chapelle Rayonnant (Decorated Gothic in England) was characterized by the application of increasingly elaborate geometrical decoration
  • 292. More St. Chapelle During the period of the Rayonnant style a significant change took place in Gothic architecture. After 1250, Gothic architects became more concerned with the creation of rich visual effects through decoration. This decoration took such forms as pinnacles (upright members, often spired, that capped piers, buttresses, or other exterior elements), moldings, and, especially, window tracery. (Some classify this as Flamboyant)
  • 293. Martin Le Franc, Manuscript on vellum, in French, illuminated by the Master of the Échevinage de Rouen.France, Rouen, c. 1465-75. Blanche of Castile, Louis IX, and two monks, moralized Bible, 1226-1234, (Paris)
  • 294. Art Patronage and Function of Medieval Manuscripts • Art patronage is an active collaboration between the artist and the patron leading to completion of a work of art. In the Middle Ages it was of essential importance for the artistic creation; both sides provided contributions to the realization of the project without which no medieval work of art could have been made. We can see the phenomenon of patronage of book production in the Middle Ages from two angles: the collective ownership of books intended for the common use by a religious community and the individual patronage of a religious person or layman, the phenomenon that gradually took over during the thirteenth and fourteenth centuries. The books ordered for individual use mirror a variety of personal interests. They were collected for the purpose of self-education and study, satisfying one's eagerness for information. A phenomenon of ardent bibliophile interest also occurs relatively frequently during the Middle Ages. Finally, a specific kind of a book intended for private devotion and contemplation of an individual was favored in the Late Middle Ages.
  • 295. • The finest books belonged to the most powerful people, the highest aristocracy. Saint Louis was an avid collector. This is the dedication page from a Moralized Bible painted for the Queen mother and King Louis IX. Above we see the two in architectural frames much like those for sculpture on the cathedrals. Below in a similar frame are the monks, one writing and painting the text in a manuscript while the older one dictates it. If we look at the page before him, the younger monk has divided the page into two columns and set four rondels, the format for moralized bible comparisons. Again in this format too we can see formulas we have already seen in the glass windows of the cathedrals .
  • 296. • Though we saw these forms first in the architecture, there is no reason to think that the formulas weren’t developed as significantly in manuscript and decorative arts forms at the same time. • The actual process of manuscript illumination was a compounded one, involving a number of skills, from the manufacture of parchment from sheep skin to the manufacture of pens and inks, bindings for pages into books and so on. This manufacturing process involved a good number of people in a well financed workshop.
  • 297. Gothic Art In England • In England the early Gothic phase had its own particular character (epitomized by Salisbury Cathedral) that is known as the early English Gothic style (c. 1200-1300 AD). The first mature example of the style was the nave and choir of Lincoln Cathedral (begun in 1192). • Early English Gothic churches differed in several respects from their French counterparts. They had thicker, heavier walls that were not much changed from Romanesque proportions; accentuated, repeated moldings on the edges of interior arches; a sparing use of tall, slender, pointed lancet windows; and nave piers consisting of a central column of light-colored stone surrounded by a number of slimmer attached columns made of black purbeck marble.
  • 298. • Early English churches also established other stylistic features that were to distinguish all of English Gothic: great length and little attention to height; a nearly equal emphasis on horizontal and vertical lines in the stringcourses and elevations of the interior; a square termination of the building's eastern end rather than a semicircular eastern projection; scant use of flying buttresses; and a piecemeal, asymmetrical conception of the ground plan of the church. Other outstanding examples of the early English style are the nave and west front of Wells Cathedral (c. 1180-c. 1245) and the choirs and transept of Rochester Cathedral.
  • 299. This Beatus page with its appealing picture of the graceful young David playing the harp represents some of the most refined English painting of its time and is one of a group of manuscripts showing a court style at the end of the thirteenth century and in the first decade of the fourteenth century. Other manuscripts sharing features of this style but without known royal connections are the Windmill Psalter (now Pierpont Morgan Library, New York, M.102) and the opening page of the Peterborough Psalter in Brussels
  • 301. The spire of Salisbury Cathedral—the tallest in England at 123m (404 ft)—soars to the heavens, and marked a revolution in cathedral architecture when it was built 800 years ago.
  • 303. Shrine of the Three Kings at Cologne Cathedral, c. 1190 – c. 1205
  • 304. The Shrine of the Three Kings • Reliquary said to contain the bones of the Three Wise Men, also known as the Three Kings or the Magi. The shrine is a large gilded and decorated triple sarcophagus placed above and behind the high altar of Cologne Cathedral. It is considered the high point of Mosan art and the largest reliquary in the western world.
  • 305. The Dormition of the Virgin 1190-1439,
  • 306. Dormition of the Virgin, Coronation of the Virgin, Tympana, South Transept Portal, Strasbourg Cathedral • According to the legend, the Virgin died at age 60, surrounded by the Apostles who had been miraculously transported to her deathbed from all parts of the world. Christ too, depicted with a halo, is in the center, prepared to take her soul (the small child in his hand) to Heaven. This lyrical scene depicts various figures in sorrow.
  • 308. Saint Maurice in the Cathedral of Magdeburg, Magdeburg, Germany, next to the grave of Otto I, Holy Roman Emperor. The cathedral is actually named "cathedral of Saints Catherine and Maurice" after Saint Maurice and Saint Catherine of Alexandria. The sculpture was created around 1250, and is considered to be the first realistic depiction of an ethnic African in Europe. Unfortunately, the figure is no longer complete and misses the lower legs and an item in the right hand, presumably a lance.
  • 309. Ekkehard and Uta, from Naumburg Cathedral. c. 1249-1255 Painted limestone, approx. 6' 2" high
  • 310. Ekkehard and Uta • Ekkehard and Uta are among a group of life size sculptures of 12 ancestors of a bishop who was a member of the ruling family of Naumburg. The ancestors were patrons of the church; their images were placed in a new chapel at the west end of the church. Unlike the more idealized French Gothic sculptures, Ekkehard and Uta are treated in a highly individualistic manner, in a style akin to Greek Hellenistic. • They reveal a strong naturalistic trend in German Gothic Sculpture
  • 311. Assisi's Basilica of Saint Francis • In 1226 St. Francis was buried (with the outcasts he had stood by) outside of his town on the "hill of the damned." Now called the "Hill of Paradise," this is one of the artistic highlights of medieval Europe. It's frescoed from top to bottom by the leading artists of the day: Cimabue, Giotto, Simone Martini, and Pietro Lorenzetti. A 13th-century historian wrote "No more exquisite monument to the Lord has been built." • From a distance you see the huge arcades "supporting" the basilica. These were 15th-century quarters for the monks. The arcades lining the square leading to the church housed medieval pilgrims. • There are three parts to the church: upper basilica, lower basilica, and the saint's tomb (below the lower basilica). In the 1997 earthquake, the lower basilica (with nine-foot-thick walls) was undamaged. The upper basilica (with three-foot-thick walls and bigger windows) was damaged. Restoration was completed in November 1999.
  • 312. Assisi's Basilica of Saint Francis
  • 313. Damaged structures still awaiting demolition.
  • 314. Adoration of the Magi (detail) by Nicola Pisano, c. 1259–60; part of the marble pulpit in the Baptistery at Pisa.
  • 315. "The Annunciation and the Nativity," detail of pulpit of Pisa Cathedral baptistery, by Nicola Pisano, 1259-1260. The marble relief displays an interest in Roman art and is similar the sculpture on ancient Roman sarcophagi.
  • 316. Nicola Pisano Sculptor whose work, along with that of his son Giovanni and other artists employed in their workshops, created a new sculptural style for the late 13th and the 14th centuries in Italy. This pulpit in the Baptistry is Nicola's earliest authenticated work. The hexagonal pulpit is divided into three registers: the lower with lions and other figures, with the lions depicted as vanquishing prey--a Romanesque symbol for Christianity triumphing over paganism. The middle level depicts personified Virtues and Prophets, and the upper, has reliefs depicting events in the life of Christ. Classical influences are evident in the style with some of the deeply cut figures traced to Roman sources.
  • 317. Arnolfo di Cambio, Francesco Talenti, Andrea Orcagna, and others. Florence Cathedral, Florence. Begun 1296; redesigned 1357 and 1366; drum and dome by Brunelleschi,1420 - 36; campanile by Giotto, Andrea Pisano, and Francesco Talenti, c.1334 - 50
  • 318. Coppo di Marcovaldo. Crucifix, from Tuscany, Italy. c. 1250 - 1300. Tempera and gold on wood panel, (2.93 x 2.47 m). Pinacoteca, San Gimignano, Italy
  • 319. Saint Francis Master. Miracle of the Crib of Greccio, fresco in upper church of San Francesco, Assisi, Italy. c. 1295 - 1301/30
  • 320. Marble tabernacle designed and sculpted by Andrea Orcagna between 1349 and 1359. Late Gothic work finished and enriched with enamel and precious stones. The painting on the panel is the work of Bernardo Daddi, dated 1347.
  • 322. • Fourteenth-century Europe was ravaged by famine, war, and, most devastatingly, the Black Plague. These widespread crises inspired a mystical religiosity, which emphasized both ecstatic joy and extreme suffering, producing emotionally charged and often graphic depictions of the Crucifixion and the martyrdoms of the saints.
  • 323. • While the great boom of cathedral building that had marked the previous century waned, cathedrals continued to serve as the centers of religious life and artistic creation. Wealthy patrons sponsored the production of elaborate altarpieces, as well as smaller panel paintings and religious statues for private devotional use. A growing literate elite created a demand for both richly decorated prayer books and volumes on secular topics. In Italy, the foremost Sienese painter, Duccio, sought to synthesize northern, Gothic influences with eastern, Byzantine ones, while the groundbreaking Florentine Giotto moved toward the depiction of three-dimensional figures in his wall paintings.
  • 324. Fourteenth-century collapse • The fourteenth century saw a series of catastrophes that caused the European economy to go into recession. • The Medieval Warm Period was ending as the transition to the Little Ice Age began. This change in climate saw agricultural output decline significantly, leading to repeated famines, exacerbated by the rapid population growth of the earlier era.
  • 325. • The Hundred Years' War began between England and France, disrupting trade throughout northwest Europe, most notably when, in 1345, King Edward III of England repudiated his debts, leading to the collapse of the two largest Florentine banks, those of the Bardi and Peruzzi. • In the east, war was also disrupting trade routes as the Ottoman Empire began to expand throughout the region. Most devastating, though, was the Black Death that decimated the populations of the densely populated cities of Northern Italy. The population of Florence, for instance, fell from 90,000 to 50,000 people. • Widespread disorder followed, including a revolt of Florentine textile workers, the ciompi, in 1378.
  • 326. The Duomo - Florence Cathedral. Drawing with cross-section of interior. 1294 plan 1296-1420
  • 327. The original design was by the architect and sculptor, Arnolfo di Cambio, but his plans were later revised and enlarged after the decision of a panel of architects and painters. The new designer was Francesco Talenti. In 1420,Filippo Brunelleschi started building the enormous dome, il cupola, and finally on March 25, 1436 Pope Eugene IV consecrated the Cathedral of Santa Maria del Fiore.
  • 328. The Dome of the Florence Cathedral was designed and built by Filippo Brunelleschi in 1425.
  • 329. South Door of the Baptistery of San Giovanni Andrea Pisano 1336 Gilded bronze Florence, Baptistery of San Giovanni
  • 330. Cenni di Pepo (Giovanni) • Better known by his nickname “Cimabue” (c. 1240 — c. 1302) also known as Bencivieni Di Pepo or in modern Italian, Benvenuto Di Giuseppe, was an Italian painter and creator of mosaics from Florence. He is also well known for his student Giotto, who revolutionized painting in Italy. Cimabue is generally regarded as the last great painter working in the Byzantine tradition. The art of this period comprised scenes and forms that appeared relatively flat and highly stylized. Cimabue was a pioneer in the move towards naturalism, as his figures were depicted with rather more life-like proportions and shading.
  • 331. "Madonna Enthroned with Angels and Prophets," by Cimabue, ca. 1280-1290. Tempera on wood, 12' 7" x 7' 4". Galleria degli Uffizi, Florence. Cimabue's art is influenced by the Byzantine style.
  • 332. Giotto di Bondone • Giotto di Bondone (c. 1267 – January 8, 1337), better known simply as Giotto, was an Italian painter and architect from Florence. He is generally considered the first in a line of great artists who contributed to the Italian Renaissance. • The 16th-century biographer Giorgio Vasari state that "...He made a decisive break with the ...Byzantine style, and brought to life the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred years." • Giotto's masterwork is the decoration of the Scrovegni Chapel in Padua, commonly called the Arena Chapel, completed around 1305. This fresco cycle depicts the life of the Virgin and the passion of Christ. It is regarded as one of the supreme masterpieces of the Early Renaissance.
  • 333. "Madonna and Child Enthroned," by Giotto, ca.1310. Tempera on panel, 10'8" X 6' 8 1/4". Galleria degli Uffizi, Florence.
  • 334. The Scrovegni (Arena) Chapel, near Padua Giotto di Bondone 1305-1306
  • 335. • The Arena Chapel (so-called because it occupies the site of a Roman arena) was built by Enrico Scrovegni in expiation for the sins of his father, a notorious usurer mentioned by Dante. It was begun in 1303 and Giotto's frescos are usually dated c. 1305-06. They run right round the interior of the building; the west wall is covered with a Last Judgement, there is an Annunciation over the chancel arch, and the main wall areas have three tiers of paintings representing scenes from the life of the Virgin and her parents, St Anne and St Joachim, and events from the Passion of Christ.
  • 336. Giotto's "The Lamentation," at the Arena Chapel, ca. 1305, fresco.
  • 337. Virgin and Child in Majesty (Maesta)," by Duccio di Buoninsegna. Main panel of Maessta Altarpiece, from Sienna Cathedral. 1308 - 11. Tempera and gold on wood, 7' X 13' 6
  • 338. The Nativity with the Prophets Isaiah and Ezekiel (1308-1311) Duccio di Buoninsegna
  • 339. Cennino d'Andrea Cennini (c. 1370 – c. 1440) • Italian painter influenced by Giotto. He was a student of Agnolo Gaddi. • Cennini was born in Colle Val d'Elsa, Tuscany. • He is remembered mainly for having authored Il libro dell'arte, often translated as The Craftsman's Handbook. Written in the early 15th century, the book is a "how to" on . It contains information on pigments, brushes, panel painting, the art of fresco, and techniques and tricks, including detailed instructions for underdrawing, underpainting and overpainting in egg tempera. Cennini also provides an early, if somewhat crude, discussion of painting in oils. His discussion of oil painting was important for dispelling the myth, propagated by Giorgio Vasari and Karel Van Mander, that oil painting was invented by Jan van Eyck (although Theophilus (Roger of Helmerhausen) clearly gives instructions for oil-based painting in his treatise, On Divers Arts, written in 1125).
  • 340. Ambrogio Lorenzetti Effects of Good Government on the City Fresco in the Palazzo Publico (Siena, 1338-1340)
  • 341. Allegory of Good Government, Ambrogio Lorenzetti, fresco, c. 1338-1339, Palazzo Pubblico, Siena, Italy (Gothic-Early Renaissance).
  • 342. Allegory of Good Government, Ambrogio Lorenzetti, fresco, c. 1338-1339, Palazzo Pubblico, Siena, Italy (Gothic-Early Renaissance).
  • 343. Buon Fresco-Italian for true fresco, is a fresco painting technique — in which alkaline resistant pigments, ground in water, are applied to wet plaster. It is distinguished from the fresco-secco (or a secco) and finto fresco techniques, in which paints are applied to dried plaster..
  • 345. France • Manuscript illumination was a favorite of French kings and high-ranking nobles. A French king, possibly Louis XI, sits surrounded by elegantly dressed courtiers in this miniature, which accompanies a letter describing courtly life in bluntly critical terms. The king looks directly out at the viewer instead of paying attention to his courtiers, echoing the text's claim that the king neglected the troubles and burdens of those around him.
  • 346. Jean Pucelle (c. 1300 – 1355) • Parisian Gothic-era manuscript illuminator, active between 1320 and 1350. His style is characterized by delicate figures rendered in grisaille, accented with touches of color. Pucelle's most famous work is the The Hours of Jeanne d'Evreux, c. 1324-1328.
  • 347. • Grisaille (grĭ-zī', -zāl'; French: gris, grey) is a term for painting executed entirely in monochrome, usually in shades of grey or brown, particularly used in decoration to represent objects in relief. Italian examples may be described as work in chiaroscuro, although this term has other meanings as well. Some grisailles in fact include a slightly wider colour range, like the Andrea del Sarto illustrated.
  • 348. The Hours of Jeanne d'Évreux, ca. 1324–1328 Jean Pucelle (French, active in Paris, ca. 1320–34) French; Made in Paris Grisaille and tempera on vellum; 3 1/2 x 2 7/16 in. (8.9 x 6.2 cm) The Cloisters Collection, 1954 (54.1.2)
  • 349. Sequence of Events c. 1307 -21 Dante writes The Devine Comedy 1307-77 Papacy transferred from Rome to Avignon 1348 Arrival of Black Death to mainland Europe 1378 – 1417 Great Schism in Catholic Church 1396 Greek studies instituted in Florence; beginning or the revival of Greek literature
  • 351. Sculpture • Sculpture of the 14th century is exemplified by its intimate character. Religious subjects became more emotionally expressive. In the secular realm chivalry was revived just as the era of the Knight on horseback was rendered obsolete. Tales of love and valor were carved on luxury items to the delight of the rich, middle class, and aristocracy alike.
  • 352. Casket with Scenes of Romances (Attack on the Castle of Love) Lid of box – Paris, c. 1330-50 Ivory with iron mounts 4 ½ x 9 11/16” French Gothic ivory casket made in Paris between 1330 and 1350
  • 353. • The casket is one of the relatively few larger ivory caskets dealing with a secular theme from the period, one of about a dozen examples showing variations of a number of scenes, • By this period, Paris was the main European centre of ivory carving, producing large numbers of religious and secular objects, including small diptychs with religious scenes that used the same relief technique; these and smaller secular objects such as mirror-cases are more common than these caskets or larger religious statues like the Virgin and Child from the Sainte- Chapelle of the 1260s.
  • 354. • This casket may well have been a gift of courtship or upon marriage, and was probably intended for an aristocratic female owner, to keep her jewels and other valuables in. The carved scenes were possibly originally painted; as the paint on Gothic ivories tended to peel in places, it was very often removed by later dealers and collectors. The unusually large size of the piece allows a wide range of the repertoire of popular scenes from different literary sources in French Gothic art to be shown, which display a variety of medieval attitudes to love and the role of women.
  • 355. Virgin and Child from Saint-Denis silver gilt and enamel ca. 1339
  • 356. Peter Parler • German architect, best-known for building Saint Vitus Cathedral and Charles Bridge in Prague, where he lived since about 1356.
  • 357. • Peter Parler became the master mason of Saint Vitus Cathedral in 1352, after the death of its original architect, Matthias of Arras. Apart from the cathedral, he was the main designer of the New Town of Prague and built Charles Bridge and its towers. In the Royal Palace of Prague Castle, Parler built the All Saints' Chapel. After the fire of 1541 it was redecorated in the Baroque style.