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Monasteries of Britain prior to their dissolution in the 16th century
There were hundreds of monasteries, all competing to become politically important. They were also competing with kings.
Monasteries were making art, and the members of the churches were paying for it.
They were centers for learning and spirituality.
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West façade of Saint Gilles du Gard, 1150-1200 (Romanesque)
A facade is a portal or enterance. This is a rivival of the monumental stone sculpture (reviving Roman art form).
Exterior or the church can instruct viewers. It is the first site the church visitor would see. It puts them in the right frame of mind.
They could pay for this because there was an economic revival due to agricultural developments resulting in a surplus.
Compare to Roman triumphal arches: Romans erected giant arches to celebrate victory in battle. This was appropriated for a new context: to express that Christ was triumphant over death.
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Jacopo Grimaldi, Interior of Old Saint Peter’s, Rome, 1619, drawing, MS. Barberini Lat. 2733 fols. 104v-105r, Vatican Library, Rome
Constantine constructed church here where he believed Saint Peter was martyred, but was made of wood and was at risk to burn down (candles), so was replaced.
Built into a Romanesque castle-like church with the new development of a stone ceiling.
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Nave and Choir, Sant Vincenç, ca. 1029-1040, Cardona, Spain (Romanesque)
Shows the new development of the stone ceiling. Barrel Vaults were used (Roman architectural development, but they used concrete). They used piers (compound columns/pillars) to support the high stone ceilings. This resulted in increased light and improved acoustics.
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Lintel of west portal, Saint-Genis-des-Fontaines, France, 1020-1021 (Romanesque)
Shows obsession with hierarchy: Christ is in the center with angels on either side, Christ is the largest and is separated with a mandala (almond in Italian), therefore he is the most important.
Christ has one hand raised with two fingers up = blessing. Two beaded halos: upper is heavenly rhelm, lower is earthly rhelm becasue he is both a god and a man.
This was not intended to be naturalistic becasue one is not supposed to actually represent god. Abstract.
Stylistic details resemble early medieval art in the weaving around halo and around border which resemble the knotwork on the Sutton Hoo Belt Buckle. This shows where artist got inspiration; significant because stone scultpure had been virtually abandoned for centuries.
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| Since one couldn't pilgrimage to the holy land (Muslims), they went to other significant places in Europe such as Rome and Santiago de Compostela. They would stop at churches along the way, and these churches would make a lot of money from the aristocrats who purchased indulgence (forgiveness for sins). This resulted in greedy churches out to make money, so they used art to attract more pilgrims. |
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Saint Pierre, Moissac, France, ca. 1115-1130 (Romanesque)
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South portal with Second Coming of Christ, tympanum, Church of Saint Pierre, Moissac, France, ca. 1115-1130 (Romanesque)
This depicts the scene when Christ returns to earth. After this, heaven and earth will live in harmony before the last judgement.
Christ is in the center and his evangelists depicted as animals surround him. Hierarchy: Christ is largest.
Around the outside are non-individualistic men (same heights, beards, hats) in 3D. Christ is flat (image not idol). Viewer would identify with the men and recognize that Christ is on a different, higher, more significant spiritual level.
Signs of the zodiac around the outside to contextualize the scene in time.
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Isaiah, trumeau, south portal, Saint Pierre, Moissac, ca. 1115-1130 (Romanesque)
Scalloped style comes from Islamic architecture. Admiration for Arabic acheivements, but Christian ambition can dominate Muslim enemy.
The center column is decorated with a figure: elongated, unnaturalistic, one leg crossed over the other, torso and head in tension, conveys suffering and contorsion. He is supposed to be a profit from before the time of Christ. It expresses how unpleasant it must have been to be of one time and see another - he doesn't get to be there at the second coming.
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Isaiah, trumeau, and jambs, south portal, Saint Pierre, Moissac, ca. 1115-1130 (Romanesque)
Trumeau is the column in the middle.
Shows Islamic influence.
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West portal with Last Judgment by Gislebertus on tympanum, Cathedral of Saint-Lazare, ca. 1120-1135, Autun, France (Romanesque)
This shows when Christ will decide who will go to heaven and hell (after the second coming). The saved are on the left being welcomed to heaven, on the right angels are weighing souls, far right damned figures are going to hell. Bottom layer shows souls underground being resurreced; giant hands are taking some of them right to hell.
This is to encourage people to repent for their sins and make pilgrimages by reminding them what will happen after they die. This is also to prepare mentally for what will go on inside church.
Also, outside church judicial proceedings would take place, so this is an effort to remind judges of the power of Christ.
Hierarchy: Christ is largest, angels are larger than the saved.
Christ has his arms open, hands extended downwards. Shows his authority, he is in charge and everything is going his way. He is also judging the church goers. His figure is barely human, terrifying to the viewer.
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Gislebertus, Eve, right half of lintel, north portal from Cathedral of Saint-Lazare, Autun (Musée Rolin, Autun) (Romanesque)
Narrative of Eve's story, but also allusion to Eve as a temptress. She is slithering on the ground, comparing her to a serpent. Her torso is frontal; body on display.
Complex idea but not stylistically sophisticated.
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Durham Cathedral, England, begun 1093 (Romanesque)
Turningn point between Romanesque and Gothic periods.
Use of the ribbed groin vault (groin vault is two barrel vaults in an X shape, rib is the point at the top) allows the churches to be higher and the compound piers supporting them can be lighter.
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Crowds Gaze in Awe at Comet as Harold Is Told of an Omen, details from Bayeux Tapestry, wool embroidery on linen, c. 1070s, Centre Giullaime le Conquérant, Bayeux, France (Romanesque)
Really long tapestry (30'+), secular. Shows William the Conquer's invasion of Britain. Harold (wealthy earl) was nominated to become king. William got mad and invaded.
Haily's comet is at the top. Comets were interpreted prophetically: symbolic that something momentous was going to happen.
This embroidery was political and placed an emphasis on battles and feasting.
There is a running inscription in latin throughout. Patron would have been a norman (sympathetic to William) and would have been wealthy enough to have a room large enough to keep this.
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The Battle of Hastings, details from Bayeux Tapestry, wool embroidery on linen, c. 1070s, Centre Giullaime le Conquérant, Bayeux, France (Romanesque)
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West façade of Saint Denis, 1137-1140 (Gothic)
Leader was Abbot Suger, a canny, ambitious abbot. He wanted Saint Denis to be the most celebrated spiritual center. Became super politically powerful. The royal family was buried there and the weak king benefitted from it's power.
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Ambulatory of Saint Denis, 1137-1140 (Gothic)
This is the focal point of the church where people can walk around and see relics of the church. Churches attracted pilgrims with their exteriors and their relics. Relics are anything associated with a holy person (body parts, clothing...). If you see one you can be healed, if yu touch one or own one you are very powerful.
Ambulatory created to accomodate large numbers of pilgrims, so they won't interrupt service when they visit the relics.
Use of ribbed groin vaults allowed for slender columns to hold up ceilings, large open areas of wall space, stain glass windows, more light then ever before. Romanesque was dark and imposing, but gothic is light, spiritual, as if you are closer to heaven.
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West façade, Cathedral of Notre Dame, Chartres, ca. 1145-1220 (Gothic)
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Jamb statues, west portal, Cathedral of Notre Dame, Chartres (Gothic)
Jamb = area on either side of doorway.
Figures are in higher relief than romanesque, more naturalistic, individualistic, bodies beneath drapery, shows a move toward naturalism.
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French (Limoges), Reliquary Chasse Depicting the Martyrdom of Thomas Becket, ca. 1210, Allen Memorial Art Museum, Oberlin (Romanesque)
Reliquary = where body parts or clothing of a saint is kept.
Shows Thomas Beckett martyred. He didn't get along with the king, couldn't keep his mouth shut. When he fled to the cathedral of Canterbury, he was murdered by knights.
The box-like structure = chasse (popular in France)
Made from wood and attached with metal facing. The colored parts were hammered out and then colored glass was melted into the hollow.
Not gothic because not very naturalized. Figures are floating, on toes, no depth, symbols, located in rhelm between earth and heaven, soldiers are identical, not convincingly a murder).
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Annunciation and Visitation, west portal, Cathedral of Notre Dame, Reims, , ca. 1230-1265 (High Gothic)
Shows Gothic v. High gothic
Left: annunciation: virgin receiving message from angel that she will be mother of god. Carved in the round with high relief. They are facing eachother. Clothes fall in a tubular patter, emphasiing the womb. Gothic.
Right: visitation: Mary talks to her cousin elizabeth who will be mom of St. John the baptist (miraculously)
High gothic. They have individualized faces (wrinkles v. smooth), more detailed folds in the drapery. There is movement, body underneath clothing (knees), bodies are in contrepposto.
A narrative in a door jamb is a major development in gothic sculpture. Starts in annunciation, but is taken to the extreme in the visitation.
The subject of the virgin Mary is very popular at this time. It used to be that art focused on Christ, but the gothic period gives more importance to Mary. Mary is the intercessor of the people, she is human, merciful, understanding, and motherly, but christ is scary.
Notre Dame = my lady
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North transept and Notre Dame de la Belle Verrière, ca. 1170, Cathedral of Notre Dame, Chartre (High Gothic)
Mary is on the seat of wisdom with Christ on her lap. Angels pray before her.
Use of stained glass is symbolic: the figure is realistic (light, shade, sense of depth), but the lighting gives it the sense of immateriality. It is human-like but clearly not actually her. Also, Mary is compared to a glass vessel becasue light goes through her but doesn't break (got pregnant but was virgin).
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Sainte Chapelle, Paris, 1241-1248 (High Gothic)
Paid for by the king of France. He had lots of relics (crown of thorns, cross, lance that pierced the side of Christ, sponge to apply vinegar to Christ's wounds, nails).
Buttresses are a serious architectural development. The interiors are freer, no need for piers. The buttresses can hold up the rib groined vault, and there can be large areas for stained glass.
Ceiling has gold and blue stars to suggest heaven becasue a church is a heavenly place.
Structure is itself a reliquary.
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Jean Pucelle, The Betrayal of Christ and Annunciation, from the Hours of Jeanne D’Évreux, 1325-1328, tempera and gold leaf on parchment, Metropolitan Museum of Art, New York, The Cloisters Collection (High Gothic)
This was not made by a monk. It was made for the queen of France. Book of hours = tiny private prayer book.
Righ: annunciation. Allusion of space. Recession into depth(this is new). The queen is in the D wearing a crown and holding a book (book of hours?) and is part of the scene. Very few colors. Kids are playing froggy in the middle: one child tagged by the others resembles mocking of Christ (he had to wear a robe and crown of thorns because he claimed to be king)
Left: betrayal. People are riding on goats and jousting witha barrel. Suggests Christ is a scape goat?
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