2. Eagle Brooch
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One of a pair, 14.3 cm
6th century (Early Middle Ages), Spain
Crystal., garnets, gilt, and bronze
Visigoths migrated across southern France to
Spain
o Metalworkers: create colorful jewelry
Bird is in flight: outstretched wings and tail
Profile head, large round eye, curved beak
Cabochon: polished but unfaceted crystals
o In center of bird
o In the circle that represent the bird’s body
Eye: round amethyst in whit meerschaum frame
Pendant jewels originally hung from the tail
Functional jewelry: fastened tunic at neck
One of most important motifs in Western art
o First, ancient sun symbol
o Then, symbol of imperial Rome
o Later, emblem of Saint John the Evangelist
3. The Cross, Church of Saint Giulia, Brescia, Italy
Late 7th – early 9th century AD
Gold, silver, wood, glass w/gold medallion of 3 rd century
•Made by Lombards, a group of
metal working people migrating
from the plains of Hungary to Italy
•Byzantine cross (equal-length
arms, widening at ends)
•200 jewels and cameos
•Center is relief carving of Christ
surrounded by halo of divine light
•Made to glorify God with color
and light
4. Gunnersmark Brooch
•
•
•
Norse
•
Used a crafted mold to produce a glittering
surface and speed up the process of
creation
•
•
•
•
•
Decorative and held up clothes
Used animal forms and silver gilt to make
decorative
Brooch pin attached by arched bow
Surface covered in geometric, human,
animal forms
Similar to other early Medieval Art; focus on
portability and animal forms
Represents the need for travel and portability
while also dignity and wealth
Forms inspired from nature
Denmark. 6th
Century, Silver
Gilt, height 5 ¾”
5. Page with Man: Gospel Book of Durrow
-Probably made in Scotland or Northern
England
-Ink and tempura on parchment
-Format of book reflects Roman Christian
models
-Paintings are “an encyclopedia of
contemporary designs”
-Book had four gospels, each introduced
with a page showing the symbol of its
evangelist author
-Shows the gospel of St. Matthew
-His symbol, the man, is shown
-Man wears a startling, unshaven face and
stares grimly from his rounded shoulders
-The hair framing his face follows the
tonsure of the early Celtic church
-Tonsure –ceremonial hairstyle that
distinguishes monks from laymen
-Seems to float w/ dangling feet against a
neutral ground
6. -Medium : Stone (Sandstone)
-Freestanding Cross
-It is from the Hiberno Saxon (Early Medieval)
-representative of the early series of cross
manufacture
-relies on abstract non-figurative art, and is
probably based on crosses of wood or metal
-Influenced by metal working traditions. Seems
to have been made as a reliquary cross.
Reliquary Cross is a cross that holds holy relics
-Celtic ring in the back that supports the cross,
Celtic ring is interpreted as halo or glory
-outlined with a ropelike, convex moldings and
covered with spirals and interlace
- large bosses (broochlike projections)that form a
cross within a cross ; resemble the jewels that
were similarly placed on metal crosses
Composed of 3 sections
1. a base
2. Shaft
3.Capestone
South Cross, Ahenny
County Tipperary,
Ireland, 8th century,
Stone
7. •
Colophon Page, Commentary on the
Apocalypse by Beatus and Commentary
on Daniel by Gerome
8th century, July
27th 970, the book
was finished in
1008
• Liebana in the
northern kingdom
of Austruias
• Tempura on
parchment
• Emeritus and
Senior created the
work, but Beatus
wrote Commentary
on the Apocalypse
• Byzantine Period
• Colophon provides
details for the
construction of the book,
this is merely a painting
in the colophon
• Intended to go the
Monastery of San
Salvador at Tabara,
Leon, Spain
• “There, over thy first roof,
Emeritus sat for three
months bowed down
and racked in every limb
by the copying.”
8. •This page,
part of the
colophon, is
located at the
end of the
book with
details about
the
construction
of the book
•Five-story
tower of the
Monastery in
Tabara
• Multicolore
d
geometric
shapes
and
patterns
which
were
common
to much
Medieval
art
• Many
paintings
of
structures
9. Battle of the Bird and The Serpent,
Commentary on the Apocalypse By: Beatus &
Commentary on Daniel by Gerome
•Artists: Emeterius, male & Ende, female
•Tempera on parchment paper 15 ¾ X 10 ¼ “
•Finished July 6th, 975 during the Ottonian Empire
•Depicts; “Christ’s triumph over Evil”
•Purpose was to illustrate the accessibility of
religious messages to the mostly illiterate public.
•Allegory of peacock and Christ, Serpent and
demon.
•Shows unique colorful styles and characteristics of
Mozarabic work, (meaning relating to the Christian
inhabitants of Spain under Muslim kings)
•Similar to many other Medieval pieces, this
illustrates religious stories and visuals to people who
cannot interpret words.
•Orginially made in the Monastery of San Salvador at
Tabara, Leon, Spain
10. Palace Chapel of Charlemagne
790 CE (Carolingian Empire), Aachen, Germany. Stone exterior.
Architect: Odo of Metz
11. Palace Chapel of Charlemagne
790 CE (Carolingian Empire), Aachen, Germany. Stone exterior.
Architect: Odo of Metz
•
Entire complex acted as imperial palace for Charlemagne
•
•
Entire complex is important, but most cherished is the chapel
•
Octagonal Carolingian nave
•
8 massive pillars hold the large arcade (succession of arches)
•
Adorned with gold and silver and lamps, has rails and doors of solid brass
•
Columns and marbles for this structure brought from Rome and Ravenna
•
King sat on a throne made of white marble plates in the West of the second floor
•
Two choirs, one on East and the other on the West side
•
Charlemagne wanted chapel to be magnificently decorated – had massive bronze doors
made at the entrance, and walls covered with marble and polychrome stone
•
•
•
Has a council hall, chapel, gallery, thermae (bathhouse), & other buildings
Walls and cupola enhanced with mosaics
Has Christian symbolism for figures and numbers applied as religion was a
large part of medieval culture
•
Chapel itself also symbolizes the RELIGIOUS POWER of Charlemagne
Grander than most other Medieval chapels as this one was specifically
commissioned by Charlemagne– one of the most prominent rulers in history
12. Page with St. Mark the Evangelist,
Godescalc Gospel Lectionary
Guillermo
13. How artist achieves
purpose:
Richly illustrated, gold
and silver lettering, vivid
dyes, masterful
understanding of Roman
portraits
Artist:
Frankish scribe,
Godescalc
Location:
Bibliotheque Nationale,
Paris
Date:
781-83 CE
Medium:
Gold, silver, and
Purple dyed vellum
Period:
Carolingian Empire
Purpose:
Supposedly
Commemorate
baptism of sons of
Charlemagne and his
wife Hildegard in Rome
Meow!
Meow!
(Draw more
(Draw more
cats!)
cats!)
Unique features:
Mark is writing and
listening to a small haloed
lion as his inspiration (lion
is Mark’s symbol), things
are overlapping and
rendered to show depth,
classic vine and sandaled
feet give natural feel,
impossible angle of knees
is disturbing though
Similar works:
Page with Saint Matthew
the Evangelist, Coronation
Gospels & Page with
Matthew the Evangelist,
Ebbo Gospels
Aspects of Medieval
culture:
Promote learning,
propagate Christianity,
and standardize Church
law and practice
14. Page with Psalm 23
Original location: Universiteitsbibliotheek, Utrecht, Holland
Dated: 9th century
Medium: Ink on vellum or parchment
Artist: Unknown
Period: Carolingian
Psalm 23 is a biblical text, its purpose was to
display the stories within the bible.
The artist achieved this purpose by not only
writing out the entire psalm, but also including
an illustration that literally depicts the psalm.
This particular psalm, found in the impressive
Utrecht Psalter, is unique because the artists
did painstaking working to bring the psalm to
life, word by word. It’s illustrations like this that
define the Carolingian art styles, in which word
and illustration are combined.
15. •
•
•
•
•
Queen’s Ship (Oseberg Ship)
A 75 foot long wooden ship discovered in Oseored, Norway
The ship served as a vessel for two women on their journey to
eternity 834
The burial chamber (which held the Queen and her servant)was
looted of jewelry and valuables long ago, although the ship itself
attest to the wealth and prominence of the ship’s owner.
This vessel propelled both oars and sails, it was designed for travel
in relatively calm waters (not journeys in a vast, open sea)
Design: The prow and stern of the ship rise and coil, the spiraling
end having a tiny serpents head. Low relief animal carvings boarder
the ship
16. Viking Beast are broad-bodied creatures that
are adorned on many Viking belongings, The
Queen’s ship being one
Their bodies are often encrusted with
geometric adornments
Women made huge water proof sails made of
wool that gave the ship great long distance
capability.
Why I like this piece….I like the idea that the
whole community made an effort to create
such a remarkable piece. These ships are
arguably the Vikings most important
contribution to world architecture.
17. Royal Rune Stone
Original location-Jelling, Denmark
Original date- c. 983-985
Rune stones were carved out with rock to
portray art
Original artist-the vikings
Period-Hiberno-Saxon
Purpose-The purpose for these mammoth like
stones to portray important pictures and
events that or passed away during that certain
time period. (Ex. King Harald had one made
for his father Gorm and his mother Thyra)
Achieving this-The vikings were able to
achieve this purpose by
carving out these rocks and known as rune
rocks, and portraying
messages and images that relate to the
important person or event
Unique features-Unique features in this work include the 8 foot rune stones used, Christ is
also portrayed on the one rock, Robed in the Byzantine with arms outstretched as if
crucified, also interlaced with double ribbon instead of a cross
Similar- many other works of art of this time portray meaningful and
religious people and places as well as this piece
Aspects of Medieval culture-Portrays many symbols of the Old Testament,
used great detail and distinct style in all of their work
18. • Heddal, Norway
• 1125 - 50 AD
• Walls formed by wooden
boards
• 4 corner posts rest on a stone
foundation
• Architect Unknown
• Triple nave stave church
• Served as a Christian church
building
• Chosen because it was an
ancient place of worship
• Close to a place of sacrifice
• Building materials easily
accessed
Borgund Stave Church
19. Exterio
r
• Raised central rooms in rectangular nave
and narrow chancel
• Exterior is most distinctive feature
• Round turret above easternmost part of
chancel
• Cone-shaped turret and steeple are
unique
• Ridge turret on top of roof gives the extra
height
• Post-and-lintel construction
• On the gables of the roof are four carved
dragon heads
• Similar to those found on Norse ships
20. Return to Medieval
Style
• Architect Christie
• Restoration work – 1860s
onward
• Pews removed
• Only original benches kept
• Ceiling vault taken down, walls
restored
• Window openings (except
ones in west gable) removed
• Animal motifs
• Fighting snakes, flying
dragons
21. • Runic inscriptions found on the
walls
• Most of internal fittings have
been removed
• Would have been more artwork
in the building
• Statues and crucifixes
• Built on a basilica plan, with
reduced side isles and an
added chancel and apse
• Ceiling held up with “scissor
beams”
• In the gable field a white dove is
painted on a blue background
• Symbol of the Holy Spirit
Interior
• Main entrance doors have
wrought-iron mountings/lion
carved in wood
22. Otto I Presenting Magdeburg Cathedral to Christ
•from Milan c. 962-68. Ivory. Ottonian
•
served as an altar or pulpit decoration.
small, 5x4.5”. One of seventeen from
Magdeburg Ivory series - small ivory tiles
to decorate holy spaces
•
religious theme, specifically Christian,
glorified Christ (like many other works
from this time). Christ enthroned in
center, angels surround. Small figure in
angel’s arms to the left is emperor Otto I
•
Hierarchy of scale shows that Christ and
angels are seen as much more powerful
and royal even than Otto I
•
Also shows unity of Medieval church and
state - emperor shows dedication to
church by presenting model to Christ
24. Church of Saint Cyriakus
•Gernrode, Germany 961-973
• Built by provincial military
governor Gero of the Ottonian
empire.
•Interrior has 3 stories
•The galleries over the aisles
show Byzantine influence
•The flat wooden ceiling would
have originally been painted
•Designed as a Basilica with a
westwork
•Women serve important offices
in religious communities
•Shows great importance of
religion
25. Page with Otto III Enthroned c. 996
•
Ottonian Period
•
From Liuthar (Aachen) Gospels
•
Made from Otto III in monastic scriptorium near
Reichanau
•
Page of imperial propaganda, shows basis of
Otto’s authority as a near-divine being.
•
Shown enthroned in Heaven, surrounded by
mandorla (enclosing oval figure) and symbols of
the evangelists
•
Hand of God crowns Otto, Otto holds Orb of the
World surmounted by a cross in right hand.
•
Throng (symbol of worldly domination) rests on
crouching Tellus (personification of the earth)
•
White banner across emperor’s breast held by
evangelists symbols. Maybe a reference to
facing page.
•
Men bow their crowned head next to Otto. Hold
Holy Lance (believed to be one that Roman
soldier Longinus pierced Jesus' side)
•
2 warriors face 2 bishops; symbolize union of
secular and religious power under the emperor
Ink, gold, and colors on vellum, 10 ½
in. X 8 ½ in., Cathedral Treasury,
Aachen
26. Aachen Gospels of Otto III: the Christ washing the feet of his disciples
(c. 996) ie: 10th century
Part of the Liuthar
(scribe)/Aachen (patron)
Gospels, transcribed and
illuminated for Otto III in a
scriptorium near Reichenau
Shows painters' narrative skill,
recounts John 13
Demonstrates use of gesture
and gaze to transmit meaning in
Ottonian painting—Peter and
the Jesus looking at each other
(Peter thinks itself unworthy or
something; I'm not familiar with
the story)
27. Aachen Gospels of Otto III: the Christ washing the feet of his disciples
(c. 996) ie: 10th century
PGold light behind the Jesus suggest
Heavenly Jerusalem (I still don't understand
Christian Capitalisation)
Spirituality and “contained by deeply felt”
emotion; confer “austere grandeur of the
Ottonian court.”
Like other Ottonian art, draws inspiration
from past to create “monumental style for a
Christian, German-Roman empire”—
groundwork for Romanesque and Gothic.
Reflects lasting effect of Roman imperial
styles, but combined with Jesuseverywhereness and Christianity (but, sadly,
no sheep) characteristic of Medieval culture.
