16+Early+Medieval+Art

This chapter covers the period between 500 and 1000 CE in western Europe following the fall of Rome. The Empire was split into East (Orthodox) and West (Latin). While the eastern Empire continued to flourish, Western Europe experienced a succession of migrations (barbarian) from the east and the north that changed the character of the once imperial empire. First exploring the art of the Franks, Anglo-Saxons and Vikings (so-called “migration art”) the chapter then discusses the rebirth of classicism under Charlemagne’s //renovalto.// Charlemagne’s role in reintroducing the classical spirit of Roman art is significant. The short-lived //renovalto// was replaced by Ottonian art with its distinctive manuscript illuminations and a refined basilican church design that introduced the “bay” into nave construction by using an alternate support system within the nave. By 1000 CE the Roman world was a memory and Europe was finding unity in a shared religion. __Patronage__. Students should know the role that Charlemagne played in the revival (//renovalto//) of interest in Roman artistic styles and architecture, and be able to discuss what art pieces (Coronation Gospels paintings) and buildings (Palatine Chapel) are informed by classic design.
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Medieval Ages - fibula - //cloisonne’// - Normans Stave church - Hiberno-Saxon - scriptoria - Lindisfarne Gospels Carpet page - Book of Kells - //Chi-rho-iota// - Charlemagne //Renovalto// - Carolingian Art - Palatine Chapel - Ebbo Gospels Torhall - Saint Gall - Ottonian art - Saint Michael’s church Bay - reliquary - alternate support system Bishop Bernward’s bronze doors **Sutton Hoo** **16-2**  **Purse cover** **,** **cloisonné ~** Funerals at this time would be held on a ship where the deceased along with lots of wealthy things would be placed on the ship and it would be sent out to sea where it would either be buried in land or in the sea. Sutton Hoo was the name of a ship recovered that had many precious things on board, one of which was a purse cover adorned in gold and gems. The figure between the beasts is reminiscent of the Bull Lyre from Mesopotamia in that it is very schematic. (RK) **Hiberno-Saxon** **16-6** **Lindisfarne Gospel** **,** **carpet page~** c. 698-721. Tempera on vela. It is a very small, very intricate "caarpet page" which is covered in "fantastical animals eating each other." It is called a carpet page because it is completely covered in an ornate pattern much like a carpet. (RK) **Hiberno-Saxon** **16-7**  **St. Matthew** **,** **abstract design ~** This is from the "Book of Durrow" made from monks in monasteries. The pages are parchment and it is writted with ink and tempra. Style is Hiberno saxon, meaning that there are images and texts but sometimes they are elaborated. This book was found possibly in Iona, Scotland and it is a very schematic work of art. Instead of a cloak, Matthew dons a cloak and his head is shockingly round. His body faces forward, but his feet face sideways. The most interesting part of the design is the intricacy in which he made the elaborate border, intertwining and all. (RK) Carolingian 16-11  Charlemagne,  equestrian statue Carolingian 16-12  St. Matthew, classicism Carolingian School 16-13  St. Matthew,  unique style Carolingian 16-16/17  Palatine Chapel,  after St. Vitale Carolingian 16-18  Torhall,  classic design Carolingian 16-19  Saint Gall, monastery Ottonian 16-22/23  Bernward’s doors  giant reliefs Ottonian 16-24  Crucifix, expressionism Ottonian 16-28  Annunciation,  unique style Ottonian 16-29  Otto III,  medieval style
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 * Viking** **16-3** **A** **nimal head** **,** **animal art ~** Intertwining was a style that was used a lot in medieval art, and this allowed for the animals that were portrayed to be more abstract than ever before. The wood animal head, kind of like a leopard or some sort of large feline, would probably be a post from a viking ship. The neck of the animal is made of intertwining pieces of wood that looks like basket weaving. Its roaring expression and flaring nostrils are fearful make in menacing and a strong symbol of the viking ship. (RK)
 * Viking** **16-4** **S** **tave church door** **,** **serpentine style ~** found on a church in Urnes, Norway c. 1050-1070CE. Staves are wedge shaped timbers placed vertically. Here, we also see the abstract interweaving animals, possibly a deer or a horse. (RK)
 * Hiberno-Saxon** **16-8**  **Book of Kells,**  **Chi-rho-iota page ~**This is from the Book of Kells from Iona, Scotland. The specific page is from the illumination of the letter rho. The page reproduces opens the account of the birth of Jesus Christ, "Now this is how the birth of Jesus Christ came about." It has the same swirling pattern and fine craftsmanship and the rho ends in a male head. (RK)

**Essay:**  Using the floor plan and interior images of the //Palatine Chapel//, discuss the stylistic influences that contributed to its design.  Then describe the innovations that are present in //Saint Michael’s//, Hildesheim using the longitudinal section and elevation of this structure. Due Wed., January 20 for an essay grade. You may work in pairs and submit two names on paper.
 * Website:** //Lindisfarne// //Gospel//, Turning the Pages at the British Library. __http://www.bl.uk/whatson/exhibitions/lindisfarne/ttp.html__