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Medieval Art and Architecture
Class
40
Art History
Undergraduate 1
03/05/2012
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Term
Figure 1.1 pg # -1
 Definition
"Kalimere may god refresh your soul together with that of your sister Hilara" epitaph from the Roman catacombs 4th century. courtyard Lateran museum Rome. the central figure is a youthful shepherd garbed in a short tunic and sandals standing frontally and carrying a lamb across his shoulders. two sheep posed stand below him with their hands turned upward. to right, dove perches in an olive tree. these figures are motifs derived from pagan visual traditions that rep afterlife as bucolic setting. it is a good example of late antique art.
Term
Figure 1.14 pg # 10
 Definition
Christ is depicted as the good shepherd with his flock. was the favorite funerary motif. also depicts Jonah and others praying, indicating a pagan background.
Term
Figure 2.3 pg # 19
 Definition
Figure 2.3 The Tetrarchs, San Marco, Venice, 305 – represents western emperor + Caesar and the eastern emperor + Caesar, each ruler’s face is identical conveying solidarity, conveys message successfully (power)
Term
Figure 2.6-2.8 pg # 21
 Definition
Figure 2.6 St. Peter’s, Rome Plan 324-40. The original plans for the Basilica
Figure 2.7 Isometric reconstruction of St. Peter’s, Rome (after Krautheimer), 400
Figure 2.8 Reconstruction of the memoria of St. Peter in the sanctuary of St. Peter’s, Rome (after Toynbee), 324-337
Term
Figure 3.8-Figure 3.9 pg # 36
 Definition
Figure 3.8-3.9 Santa Maria Maggiore, Rome. Nave C. 432
Alaric's sack of Rome "De Civitate Dei". Rectangular Mosaic panels along nave walls. Panels illustrate episodes of Abraham and Jacob. Mosaics on the triumphal arch of Santa Maria Maggiore, Rome 432-40.
Term
Fig. 3.21-3.22
p. 44
 Definition
Figure 3.21 Parable of Wise and Foolish Virgins. Raising of Lazarus, Entry into Jerusalem, Last Supper. Last Judgement of Matthew. was following other sources flames, white robed men (purity). Christ gathers faithful to eternal garden. Trial of Christ before Pilate, Rossano Gospels Christ + Tormentors. Jews cry "crucify him" writhing Borabbas presented like criminal
Term
fig. 3.32
p. 51
 Definition
Christ and Menas. Saint Menas brought to Egypt and enshrined. Christ wraps hand around him, unity. Christ is taller. Direct gaze indicates favors Menas and Coptic Christians
Term
p. 54
fig. 4.1
 Definition
Justinian Defender of Faith mid 6th century. Louvre, Paris. Portrait of Justinian. Clearly displays his policies. Goddess at right reps earth. Barbarian at bottom. Barbarians below are conquered. animals rep territory lost. Justinian reclaims med sea as Roman Empire.
Term
p. 56
fig. 4.2-4.6
 Definition
Hagia Sophia, Constantinople 532-537. overwhelming size, geometric structures. consecrated 5 years later. was to be movement to glory of church. Design and supervise building Anthemius/geometry, Isidorus/physics. costly building containing rectangle, squarish 2 narthexes, broad atrium and apse on east. nave dominated by dome. directional focus toward altar. arches hold up dome. method of supporting dome a) penditive (curved tri sect) b) squinch half-conical niche built into corner. East + west space descends. apse on east, vaulted passageway abutting inner narthex on west. screen walls penetrated by arcades. Lofty dome, galleries and high celerestory . Semidomes on east/west and solid exterior piers on North and South hold up dome. whole seems indivisible and organic. enclosed in canopy of heavens. 6th century construct light vaults + domes. Greater flexibility in shaping spaces. colorful material covered walls. Color red glass, gold mosaics.
Term
p. 70
fig. 4.23
 Definition
Christ. Made in Tempora and gold on panel. 700. monastery of st. catherine mt. sinai. one of the earliest icons to survive. it combines classical tradition with image of christ (Pantocrator). Maybe a copy of the mosaic icon of Christ that marked the Chalke gate in Constantinople. sense of 3D. enlarged asymmetrical eyes suggest idealized spirituality filled with wisdom and serenity beyond human understanding. Portrays ideal form of Christ.
Term
p. 80
fig. 4.40-4.47
 Definition
San Vitale, Ravenna completed 546-48. founded by Bishop Ecclesius in last years of THeodoric's reign (526). MOnograms on capitals indicate it was made during tenure of Bishop victor. Ground plan related to saints of Sergios. Octagonal double shell plan. Apse projects from a square chancel. view into Apse Interior Polygonal ext. lofty proportions int. lower walls reveted w/ marble, above elegant columsn. Agnus Dei, sacrificial lamb of God. In lunnette rep sacrifice of Abel and Melchizedek. Abel offers lamb to hand of god. The feast of Abraham. Abraham offers meal to 3 men seated beneath oak at mambre. sacrifice of Isaac. Placement of scenes brings to mind cyclical disposition of later Byzantine mosaic programs. Mosaics define narratives Figs move gracefully. Early 5th cent. reps retains illusionism of Antiue painting. Table legs askew, feet project arbitrarily. curious compromise b/w illusionistic qualities of early narration + more iconic tendencies toward flat patterns encountered in chancel mosaics of San Vitale. Justinian + his Retenue. Justinian (not really there) is portrayed as plain actor in drama of Great Entrance. General to right/archbishop maximianus, banker Argentarius left. Justinian blessed with halo. robe crown rep regent of Christ on earth. Maximianus hated by citizens. portrayed as grim. Belsarius, his commander, is blandest. Designer underscores preeminence of Justinian + Maximianus / overlap others. Feet ride atop others. Justinian portrayed as saintly . emperor eternal presence at mass in San Vitale. Theodora and her cout. Fountain/curtained doorway. offers chalice as donation. empress off-centered. Theodora had fair face, ruthelss manner. Antonia, wife of Belsarius, stands next to Empress.
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p. 102
fig. 5.14-5.15
 Definition
David composing the Psalms Paris. "courtly" production. Shepherd in center Orpheus playing to animals. author portrait. David composer of Psalms. David plays harp. Melodia relaxed, Echo listens. "Bethlehem" where David spent youth. Illusionistic, relaxed figures. David combats Goliath, Paris. Female (Dynamis) spurs shepherd into battle. Alazoneia flees behind Goliath. David decapitates defeated Giant.
Term
p. 108
fig. 5.24-5.28
 Definition
Church of Dormition, Dalphini. Demus church is 3 fold describes church as image of Cosmos, vaults rep paradise (holy Land), walls (terrestrial world). Architecture 3 zones: summit is exclusive domain of Pantocrator, mosaics (vaults) present major events of Christ, rank of Saints commemorate sainthood
Term
p. 139
fig. 7.7-7.8
 Definition
Carpet page. Book of Durrow. C. 660-80. Earliest Irish gospels written by Saint Columba. 4 colors red, green, yellow, brown/ black, suede like textures (receptive to ink and color). Some swilling spiral, big cross, sectioned metal plates
Term
p. 141
fig. 7.11-7.12
 Definition
Carpet Page with a cross, c. 710-25, London. Dog head serpents, birds w/ cloisonne wings. Forms lost in maze of knots and loops. Division, symmetry. Frozen pattern. Portrait of Saint Matthew, London. Naturally proportioned elder seated on bench, writing. no background red curtain, heavy drape. he receives inspired words from Gospel bearded man witness this. his symbol a- winged man.
Term
p. 144
fig. 7.16-7.18
 Definition
Canon Table, 8th-9th century, Dublin. Blend Evangelist symbols and unusual animal motifs. Virgin and Child. Enthroned among 4 angels opposite 1st list of Chapters beginning w/ words, "Nativitas Domini." Throne, lower torso rendered in profile, black lines tracing folds of violet tunic that covers her legs. Mary-Byzantine costume. reflect liturginal icon. lower right, interlaced border with heads of 6 bearded monks. Ancestors of Christ perhaps. Chi Rho Monogram Page. Faces beginning of Matthew's genealogy. 1st appearance of Christ in Bible. So fine, created by angels? Human heads can be dscenered. 3 angel appear along descender:Chi end monk's head, animals elsewhere. Fish captured by other is wafer interpreted as symbol of Christ magical metamorphosis; animals inside out, seas -> clouds, streams stop.
Term
p. 203
fig. 9.19-9.20
 Definition
Abbey Church of Saint Michael, Hildensheim. 1010-33 (restored 1958) tall building, doubled in transept arms, trebled in nave. arms called "angelic choirs". "saxon" alternation of pier + columns.
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p. 213
fig. 9.39
 Definition
Gero Crucifix, c 970, Cologne Cathedral. 6 ft. high. Dead body -> stretched, sagging skin. face -> lonely, withdrawn somberness. Human suffering + death -> superior sculptor
Term
p. 103
fig. 5.17
 Definition
Saint Mark 10th Century MOunt Athos. Mark relaxed classical figure. monumental author portraits - position. Byzantine painting -> increased refined iconic style (more hieratic features), luxurious embellishments in Islamic manuscripts
Term
p. 106
fig. 5.21-5.22
 Definition
Katholikon Hosios Loukas Greece interior 11th cent. small unity of parts creates perfect image of cosmos, more complicated in elevation than most Byzantine churches in this period.
Exterior from south. Elaborated with richly textured courses of stone and brickwork.
Term
p. 112
fig. 5.29
 Definition
............
Term
p. 113
fig. 5.30
 Definition
............
Term
Fig. 6.3-7
p. 122
 Definition
San Marco, Venice, Begun 1063, 12-15th cent.
exterior: exotic combo of Byzantine Islamic and Gothic features added over time
plan: cross /rectangular structure
interior: mosaics present ensemble of pictures as far as chronology and iconography are concerned, remain most impressive Byzantine decorations in Western Europe, cycle of scenes from the life of Christ covers the arches and vaults of the galleries in the arms of the cross, echo Comnenian mosaics, decorations of 5 main domes and vaults were added during later 12th cent. related to schemes in Byzantine churches
view into central dome: dome with pantocrator includes figures of the orans Virgin and prophets and a theme of Ascension that follows, Byzantine iconography except for addition of the Virtues placed between the windows + a Western touch
Term
p. 124
fig. 6.8-6.10
 Definition
Fig. 6.8: Pala d' Oro, Gold, gems, silver gilt, and enamels, 1105, reassembled in 14th cent. San Marco, Venice
Originally ordered by Doge Pietro I Orseolo (976-78), gold plaques nailed on wood, new pala ordered/received in 1105 from Constantinople by Doge Ordelaffo Falier (1102-1108) to serve as a screen for the high altar.
Fig. 6.9: Crucifixion, silver gilt, and enameled plaque on the Pala d' Oro, 12th cent.
Matrix of the enamel is powdered glass/gems heated to molten state and fuses with gold/ silver surface, polished, result is something between stain glass and mosaic but a miniature.
Term
p. 126
fig. 6.11
 Definition
Christ Crowning King Roger II of Sicily, dedicatory mosaic in the Martorana, Palermo 1148
Roger II with Byzantine court costume, identification with Christ underscores claim to be chosen one to govern Roman world, facial features are identical, visualizes bold proclamation of an anonymous Norman political tract of 1100= King is the Messiah
Term
p. 126
fig. 6.12-6.17
 Definition
Figure 6.12 interior. Capella Palatina Palermo, interior toward alter mid 12th century. the mosaic decorations on the walls and dome are comnenian in style. made from artisans from Constantinople. Iconographic program is the combination of Byzantine image of the cosmos and latin pictorial chronicle of history of the ecclesia from the old to new testament in the nave. wood ceiling of nave is the exotic work of hanging honeycombs of cells by Islamic craftsman from Egypt.
Figure 6.13 is the view into the dome with the Pantocrator in 1143. goes from angels to prophets in succession below. inscription dates the mosaic at 1143.
Figure 6.14 the nativity mosaic on the wall above the apse of the south aisle in the Capella Palatina. middle Byzantine style, hieratic scale. drapery is mechanically rendered and disconnected. it invades the space of other mosaics next to it. the figures are flat silhouettes that float against stylized landscape with heavy scalloped contours.
Figure 6.15 Entry into Jerusalem. mosaic on the lower wall of the south transept in the Capella Palatina. example of excellence of the triumphal adventus of Christ before the 2 towered gate of Jerusalem. it eludes to royal reception in foreign lands.
Figure 6.16 Abraham's hospitality. mosaics in the spandrels in the nave arcade. possibly an example of royal reception influenced by god in foreign lands. it was a reminder of king Rogers role as a triumphant basileus and divine authority of the Normans.
Figure 6.17 view into the south transept. shows intricate mosaics.
Term
p. 130
fig. 6.19-6.22
 Definition
Cathedral and Monastery of the Virgin, Monreale, 1174-83
view of nave toward the east: Huge basilica was built and decorated rapidly enabling William II to exert authority of his new church as a fait accompli before his death
pantocrator, apse mosaic: central figure in the sanctuary like Benedictine traditions, the conches of the 2 side apses received mosaic icons of St. Peter and Paul.
Christ in the Garden, mosaic in the transept of the Cathedral of Monreale: emphasis on line over volume is accentuated by complex turnings of the drapery often resulting in swirls and eddies about the hips, knees, etc. all features of anatomy are defined by lines and gestures and facial features are dramatically emphasized, individuals and sometimes entire compositions display dynamic quality.
View of cloister:Norman tradition (signaled King's authority, an imposing 2 towered facade and cloister with sculptured capitals adjoined the church).
Term
p. 165
fig. 8.1-8.2
 Definition
Palace Chapel of the Charlemagne, Aachen, 9th cent.
Royal Hall: Originally part of large complex of palace structures, had huge courtyard and royal hall. Imitates San Vitale, The emperor's private chapel, spiritual models were the palace churches in Rome, ground plan features a central octagon with a dome (symbolizes power), apse and two towered entrance( symbolizes function as a fortress and imperial foundation), imprint of North is seen in solid walls and metalwork railings.
Term
p. 169
fig. 8.9
 Definition
Torhalle of Lorsch, 800
Originally stood within the atrium of the towered basilica, erected as an independent station for imperial ceremonials, modeled loosely after the Arch of Constantine, served as a kind of waiting room during the emperor's visit, colorful masonry patterns on exterior inspired by Roman architecture and 2 towers at end of gateway underscore its imperial role (parallel to westwork).
Term
p. 170
fig. 8.10-8.11
 Definition
Plan of an ideal monastery, originally in red ink on parchment 820, Stiftsbibliothek, St. Gall, Switzerland
Laid out according to a simple grid system with axes roughly marking off 4 major areas about the huge church in the center, numerous buildings are named and trees are even designated, 4 basic quarters are marked 1. closed monastic core (The claustrum) 2. North side- residence for imperial guests and abbot's house, school, library etc. 3. South side- monk's refectory and kitchen, craftsmen, mills, bakery etc. 4. Final arm (to east)- rooms for monastic physician, infirmary, and cloister= self sufficient city of its own, Benedictine ( Saint Gall's monastery)= hypothetical reconstruction of an ideal monastery for St. Gall
Term
p. 177
fig. 8.19
 Definition
Saint Matthew, Illustration in the Coronation (Schatzkanmer) Gospels, early 19th cent., Kunsthistoisches Museum, Vienna
Purple stained parchment and silver text =royal function for precious manuscript, no decorative beats interpret serene portrayal, no complex arches or gems, power comes from monumentality of the figure and large halo.
Term
p. 177
fig. 8.20
 Definition
Saint Mark, Illustration in the Gospel Book of Ebbo, 816-835, Bibliotheque Municiple, Epernay
No simple author portrait, known as the "inspired Evangelist", Mark responds to the lion as if experiencing a mystical revelation, ecstatic movement with swirls of robe.
Term
p. 193
fig. 9.1
 Definition
The Alfred Jewel, Gold, filigree, cloisonne, enamel, and rock crystal, 871-99, Ashmolean Museum, Oxford
Clearly continues traditions of metal working and borrows from various sources in iconography and technique, inscription = "Alfred had me made" commissioned by the king?, figure of Christ with 2 scepters is borrowed from Irish Christianity.
Term
p. 195
fig. 9.4-9.5
 Definition
Fig. 9.4: Illustration to Psalm 43(44), Miniature from Eadwine Psalter, 1150, Trinity College Library, Cambridge
2nd variant to Utrecht Psalter, includes portrait of a scribe, border is added to contain restless figures, city walls and hillocks are schematized into surface patterns into 3 distinct bands.
Fig. 9.5: The Scribe, miniature from the Eadwine Psalter
See above.
Term
p. 196
fig. 9.6
 Definition
Illustration to Psalm 43(44), miniature in Canterbury Psalter, 1200, Bibliotheque National, Paris.
Conflict between freedom of movement and constrictions of the frame and field, Gothic version, artist includes basic iconography but updated it with contemporary military costume.
Term
p. 197
fig. 9.7
 Definition
Crucifixion, Illustration in the Ramsey Psalter, 990, British Library, London.
Iconic Christ between Mary and John (Evangelist) displays sensitivity of English artist, long and graceful outline Christ's limbs contrast with the border of his loincloth, irregularly hooked outline of Mary's mantle (like magnetic force) adds frenzied touch to her body, grasps mantle which conveys her sorrow.
Term
p. 197
fig. 9.8
 Definition
Crucifixion, Illustration in Arundel Psalter, 1050-1060, British Library, London.
Romanesque style in England, static and hieratic image, energy of lines quelled beneath heavy bars painted as contour lines for draperies and silhouettes, figures loom larger because material weight, effect of engraved design rather than a pen drawing= Romanesque traits.
Term
p. 198
fig. 9.10
 Definition
Saint Luke, Pierpont Morgan Gospels, 1120, Pierpont Morgan Library, NY.
Demonstrates Anglo-Norman penchant to create new iconography by drawing from disparate sources, Luke= hunched over (Carolingian Gospel) but large ox (symbol of Luke) = NOT found in Carolingian works but Insular manuscripts (Book of Durrow).
Term
p. 199
fig. 9.11
 Definition
Fall of Adam and Eve, Illustration in Albani Psalter, after 1120, Library St. Godehand, Hildesheim.
Symmetrical composition and colored background = hallmarks of the extensive cycle of pictures.
Term
p. 209
fig. 9.30-9.31
 Definition
Figure 9.30 Otto III Enthroned b/w church and state. illustration in gospels of Otto III, 1,000. munich. 2nd gospel book of Otto III. Exhibits an alternative kind of Ottonian abstraction of space, scale and frontality. all details of Otto's regalia are enlarged and emphasized. the rich border adorns his purple mantle. next to him are reps of church holding gospel books. to left are soldiers making gestures of acclamation.
figure 9.31 Saint Luke. evangelist portrait transformed into an image of mystical revelation with the rider lifted into heavens, ox above luke's head. luke is transfixed and stares out as if in hypnotic trance. inspired by prophets whose heads emerge from fiery wheels that turn about them. palette is dissonant which often in Ottonian miniatures.
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