Mark the Evangelist, Godescalc Gospel Lectionary, 781-83 From Carolingian Art

• Regularizes and standardizes the writing so every could read it
• Earliest surviving manuscripts in the new script produced at Charlemagne's court. 
• Golden silver lettering and purple dye
• Saint Mark is actively writing

St. Matthew Page, Coronation Gospels, Early 9th century From Carolingian Art

• purple dyed - velum
• actively writing
• flat background
• The frame enhances the classical effect of a view through a window 

Matthew Page, Ebbo Gospels, Second quarter of the 9th Century From Carolingian Art

• Example of regional style
• Artist made individual brush strokes - to create a sense of spiritual energy
• Roman temple in the back

Page with Psalm 23, Utrecht Psalter, 2nd Quarter of the 9th Century From Carolingian Art

• Book of the songs (poetic form)
• Illustrations convey the characteristically close association between text and illustration in Carolingian art.

Lindau Gospel Cover, c. 870 - 880 From Carolingian Art

• Gold, gems, pearls
• triumphant Christ
• Figures are in repousse - low relief produced by pounding out the back of the panel to produce a raised front 
• Figures are boneless
• Such luxurious gems are meant to recall the jeweled walls of the Heavenly Jerusalem.

St. Cyriakus, Gernrode, Germany, 961 - 973 By Ottonians

• Entrance from side
• 2 apse
• was a monastery church and was headed by woman
• has three levels: an arcade separating the nave from the side aisles, a gallery with groups of six arched openings, and a clerestory. 

St. Cyriakus Interior, Gernrode, Germany, 961 - 973 By Ottonians

• Entrance from side
• 2 apse
• was a monastery church and was headed by woman
• has three levels: an arcade separating the nave from the side aisles, a gallery with groups of six arched openings, and a clerestory. 

Doors of Bishop Bernward, St. Michael’s at Hildesheim, 1015 By Ottonians 

• 1st public statement at this time 
• Left side - Old testament and Right side is new testament 
• not chronological

Gero Crucifix, Cologne Cathedral, c. 970 By Ottonians

• Made out of wood and it has been painted
• Christ not Triumphant because his head is down and body is slightly down
• gives emotion of sorrow
• The figure of Christ is more than 6 feet tall

Otto IIIrd Enthroned, Aachen Gospels, c. 996 By Ottonians

• Mandorla  -heavenly crown on top of Otto's head
• representation of the world in his hand
• Message of authority which is also a divine figure. 
• It is a work of imperial propaganda meant to establish the divine underpinnings of Otto's authority and depicts him as a near-divine being himself.

Christ Washing the Feet of His Disciples, Aachen Gospels, c. 1000 By Ottonians 

• Intense connection with figures
• The painting shows towering Jesus is in the center extending an elongated arm and hand in blessing toward the elderly apostle. 

Cathedral of Saint James, Santiago de Compostela, Spain, 1078 - 1122 Romanesque Art 

• Extenuation of side aisles - provided movement and more space
• large apse and added ambulatory
• Portals - Entrance
• No clerestory
• Ribbed barrel vaulting
• Was one of the major goal of pilgrimage, it held the body of Saint James

Church of St. Etienne, Caen, 1060 - 1130 Romanesque Art

• was originally built as a wooden-roofed basilica by William the conqueror. 

St. Etienne, Caen, 1060 - 1130 Exterior Romanesque Art

• was originally built as a wooden-roofed basilica by William the conqueror. 
• Pointed Arches
• Wall buttresses divide the facade into three vertical sections corresponding to the nave and side aisles.  

Speyer Cathedral, Germany, c. 1080 - 1106 Romanesque Art

• 2 arcades in 1 bay
• enormous clerestory

Cathedral Complex, Pisa, 1063 - 1174 Romanesque Art

•  Dedicated to Virgin Mary
• Consists of baptistry, cathedral, and leaning tower of Pisa. 

Sant’Ambrogio, Milan, 1080 - 1117 Romanesque Art

• Ribbed groin vaulting
• really wide not tall
• The dimly lit nave makes the light streaming down down in front of the altar from the lantern tower all the more dramatic. 

Durham Cathedral, England, 1087 - 1133 Romanesque Art

• Ribbed groin vaulting
• 2 groin vaults in each bay
• unifying space 
• All the chevron ornaments were originally painted

WILIGELMUS, Creation and Fall, West Façade, Modena Cathedral, c. 1099 Romanesque Art

• Earliest narrative sculpture in Italy 
• originally painted

Saint Pierre, Moissac, South Portal, c. 1115 Romanesque Art

• Representations of 4 gospels around Jesus
• hierarchy of scale
• Angles are boneless
• The image of Christ in Majesty dominates the huge tympanum. 

Trumeau (Jeremiah?) Saint- Pierre,  Moissac, c. 1115 Romanesque Art

• Elongation, boneless figures
• movement of Jeremiah's legs crossed
• wistful expression, thoughtful about end of Day on top. 
• This decorative scalloping as well as the rosettes, lions, and ribbons reveal a knowledge of Islamic art. 

GISLEBERTUS, Tympanum, Saint-Lazare, Autun, 1120 - 1145 Romanesque Art

• Immobile concentration in the center
• elongated boneless figures
• true last judgment scene
• beginning of theatrical play

Gislebertus, Capital, Betrayal of Judas, Saint Lazare, Autun, c. 1125

• historiated columns - based on history, narrative scene
• vegetable motif
• bump on the back represents money bag

Bayeux Tapestry, c. 1066 - 82 Romanesque Art

• A strip of embroidered linen that tells the history of the Norman conquest of England

St. Matthew Codex Colbertinus, c. 1100 Romanesque Art

• Not shown writing but holding his book
• elongated animals
• This manuscript was made in the region of Moissac at about the same time that sculptors were working on the abbey church 

 Christ in Majesty, Church of San Climent  Taull, Spain 1123 Romanesque Art

• Triumphant Christ
• Artist uses elongonated figures but still use byzantine art
• heavy dark outline
• symmetry and forma
• Fills the curve of the half-dome of the apse.
• Used a technique called glazing which made the colors intense by building up many think coats of paint.  

 Church of Saint SavinSur Gartempe, Poitou, France, 1095 - 1115 Romanesque Art

• Figural painting in barrel vault
• In fresco painting
• Approaches the form of a "hall church" where the nave and aisles rise to an equal height.

 Tower of Babel, Abbey Church of Saint-Savin-sur Gartempe,  Poitou, France, c.1115 Romanesque

• Boneless figures
• The painters moistened the walls before painting, which allowed some absorption of pigments into the plaster, making them more permanent.

 Virgin and Child, French, Late 12th Century Romanesque Art

• Made out of Oak
• originally painted
• Lightweight and portable
• religious possession
• frontal and rigid composition / symmetrical folding

 Reliquary of Sainte Foy, Late 9th or 10th Century Romanesque Art

• The skull of Sainte Foy is in the object
• Pilgrims brought their own jewels to put on the object.

 Tomb cover of Rudolph of Swabia, Saxony, Germany, c. 1080 Bronze with Niello Romanesque Art

• The oldest known bronze tomb effigy is that of King Rudolf of Swabia.
• It is nearly life size
• Modeled in high relief

 Renier de Huy, Baptismal Font, 1107-8 Romanesque Art

• Refers to the temple of Jerusalem
• Renier's bronze sculptures demonstrate the survival of a classical and humanistic art in northern Europe.

 The Nun Guda, Book of Homilies, Early 12th Century

Romanesque

• Guda's image is the earliest signed self-portrait by woman in Western Europe.

 The Nun Guda, Book of Homilies, Early 12th Century Romanesque

• King, queen, religious figures in the mouth protray the message that it does not matter who you are but matters what you do.
• The page seems dominated by the ornamental frame

 Cathedral of Nôtre Dame, Paris, 1163 – 1270s Gothic in France

• Flying buttresses are away from the wall which allows to have stained glass - brighter, bigger, better

West Façade Chartres Cathedral, 1134 - 1260 Gothic in France

• built in short period of time
• It houses a relic -piece of linen Virgin Mary wore when Christ was born.
• Dedication to Mary
• Enormous Rose window

 Royal Portal, West Façade, Chartres Cathedral, c. 1145 - 55 Gothic in France

• Christ Running across all three portals, storied capitals depict his earthly activities.

 Jamb Sculptures, Chartres Cathedral, c. 1145 - 55 Gothic in France

• Jams represent Chrit's ancestors
• The biblical kings and queens support Mary and Christ in the tympana above.

 Chartres Cathedral, Interior   1134 - 1260 Gothic in France

• Arcade and Clearstory - exactly the same height.

 Tree of Jesse Window, West Façade, Chartres Cathedral, c. 1150 - 70 Gothic in France

• Attempt to recreate heaven
• Lancet window - ends with Mary and starts with Christ
• Tracery - iron of stone in between glass work
• bible for the poor

 Chartres Cathedral, Rose Window and Lancets, North Transept, c. 1220 Gothic in France

• Not the main rose window
• Eaisly seen on the floor
• Enormous
• In the center of the rose window, Mary is enthroned with the Christ Child.
• In the center Lancet - Mother and baby mary.

 Amiens Cathedral, Interior 1220 - 88 Gothic in France

• Became the archetypical Gothic cathedral
• The choir is illuminated by large windows subdivided by bar tracery.

 West Façade Reims Cathedral c. 1211 - 1311 Gothic in France

• Enormous portals
• Glass Tympanum
• decorative sculpture
• Mary dominates the central portal, a reflection of the popularity of her cult. 

 Nave, Reims Cathedral, Looking West, 1211 – 20 Gothic in France

• Tracery is much thinner
• Bar tracery - enables to open window even more
• Here ranks of carved Old Testament prophets and Christs royal ancestors serve as moral guides for the newly crowned monarchs who faced them after the coronation ceremonies.

 Amiens Cathedral, West Façade, 1220 - 40 Gothic in France

• originally brightly painted
• central tympanum - Jesus sitting at the day of Judgement
• Left -local saints
• Right - Mary Enthroned

 Christ: Beau Dieu,Trumeau, Amiens Cathedral 1220 - 40 Gothic in France

• Christ shown as a teacher or priest instead of as a judge
• Blessing the people
• Standing on a snake - bascillus- metaphor standing over evil

 Annunication (l) And Visitation (r), West Façade, Central Portal,  Reims 1230 - 1255 by Gothic in France

• Each done over a different time has different taste and styles. Art historians have named them Classical Master, the Amiens Master, and the Master of the Smiling Angels.
• From naration to visitation

 Sainte Chapelle, 1243 - 48 Paris Gothic in France

• Masterpiece of Rayonnant style- Radiant/ shining
• represents a giant reliquary made of stone and glass
• priate chapel for king
• No walls, has stained glass which contain narative scenes. - All clerestory

Blanche of Castile and Louis IX, Moralized Bible,

1226 - 34 Gothic Art in France

• This compositional format derives from stained glass lancets organized as columns of images in medallions. the illuminators show their debt to stained glass in their use of glowing red and blue colors and reflective gold surfaces.  

Abraham, Sarah, and Three Strangers, Psalter of St. Louis, 1253-70 Gothic Art in France

• Defines the court style
• The book contains 78 full page illuminations, was created for the king's private devotions.  

Psalm 1, Windmill Psalter, 1270 - 80 Gothic Art in England

• Lots of interlacing
• judge of salamon 

Psalm 1, Windmill Psalter, 1270 - 80 Gothic Art in England

• Lots of interlacing
• judge of salamon 

Salisbury Cathedral, 1220 – 58 Salisbury, England Gothic Art in England

• No rounded apse!
• Has flying buttresses which didn't serve a purpose 

Salisbury Cathedral Interior, 1220 – 58 Salisbury, England Gothic Art in England

• No rounded apse!
• Has flying buttresses which didn't serve a purpose 

Church of St. Elizabeth, Marburg, Germany, 1235 - 83 The Gothic in Germany 

• The first true Gothic hall church, and one of the earliest Gothic buildings in Germany. 

 Church of St. Elizabeth, Marburg, Germany, 1235 - 83 The Gothic in Germany 

• The first true Gothic hall church, and one of the earliest Gothic buildings in Germany.
• No walls in Naive - opens space dramatically and allows to flood light into interior.  

Nicholas of Verdun, Shrine of the Three Kings, c. 1190 – 1205/10 Gothic Art in Germany

•  Example of Classising - fully and nationalistically modeled figures proportions. And also corresponds to Bascilla Style church.

Dormition of the Virgin, South transept portal tympanum, Strasbourg Cathedral,

c. 1240 Gothic in Germany

• Example of Expressionism, and Classicism
• Expressionism - using art to use emotion for viewer
• Classicism - hair, idealized type, drapery refers back to Greeks 

Ekkhard and Uta, Naumberg Cathedral, c. 1245 - 60 Gothic in Germany

• Jam sculptures
• Example of verism - double chin
• An example of how jam sculptures were painted.  

Nicola Pisano, Pulpit in the Baptistry, Pisa 1260 Gothic in Italy

• The panels illustrate New Testament subjects, each framed as an independent composition.  

Nicola Pisano, Nativity, detail of the Pulpit at Pisa, 1260 Gothic in Italy

• Large Mary
• Example of Classcism - idealized faces, heavy drapery, drill work on hair, rational  

Giovanni Pisano, Nativity, from the pulpit at Pistoia, 1297 - 1301 Gothic in Italy

•  Deeply undercut - high drama
• Expressionist art - reaction with mary 

Giovanni Pisano, Siena Cathedral, West façade, 1284 - 99 Gothic in Italy

•  pointed arches
• He placed figural sculptures high on the facade.  

Coppo di Marcovaldo, Crucifix, 1250 - 70 Gothic in Italy

• Huge painting
• The artist represents a suffering Christ: A  byzantine type with closed eyes and bleeding, slumped body that emphasized emotional realism.  

Miracle of the Crib At Greccio, San Francesco, Assisi, Late 13th  Century Gothic Art in Italy

•  Attention to detail and realism
• A vivid example of Gothic mural painting.
• Also vividly documents the appearance of an Italian Gothic church.

Cimabue, Virgin and Child Enthroned c. 1280 Italy

• Looks byzantine - gold background, halo, elongated mini adult Christ, Barbie feet
•  Angels are not symmetrical (nationalism)
• Angels in same position

Giotto, Virgin and Child Enthroned, 1305 - 10 Italy

•  Mary has weight - proportional, has breasts
• It recalls Italian architecture
• Naturalistic - shows how people will react

Giotto, Arena Chapel, Padua, 1305 - 06 Italy

• Dedicated to the Virgin of Charity and the Virgin of the Annunciation. 

Giotto, Lamentation, Arena Chapel, Padua, 1305 - 6 Italy

• focused the composition off center for maximum emotional effect