Early Middle Ages

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Early Middle Ages C. 650-1150 AD
Artist as Propagandist
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New Vocabulary Enamel Westwork Narthex transcept
Choir Apse Crypt Psalter
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• The Dark Ages- period between classical
  antiquity and its rebirth (the Renaissance)
• 650-750- the center of civilization moved
  northward into Northern/Western Europe
• Artwork was portable at first due to movement of
  the people
• Decorative animal motifs prevailed
• Metalwork was principle medium- small objects
  translated into wood, stone, manuscript
  illustration

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• Celtic-Germanic Style
• Animal style- Germanic tribes that entered
  Western Europe during the declining years of the
  Roman Empire brought artistic traditions with
  them- from Iran and Scythian Gold
• Made of gold and enamel
• Four pairs of symmetrical motifs- man between
  fighting animals- this is a popular motif in
  early Christian Art

Purse Cover, 625-33 AD
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• Details are realistic but surface is covered with
  lacy ornamentation
• Used to endow Viking ships with character of
  mythical sea dragons

Animal Head, from Oseberg Ship-Burial c. 825 AD
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• Hiberno-Saxon Style
• Earliest Christian works made north of the alps
• Irish (Hiberians) assumed the spiritual and
  cultural leadership in Western Europe
• The Golden Age of Ireland-never became part of
  the Roman Empire
• Converted to Christianity by missionaries but
  were never Rome-centered
• Hermits living in countryside formed first
  monastaries-these became centers of learning and
  the arts, missionaries spread Christianity over
  Scotland, France, Netherlands
• Manuscripts used to spread the Gospel-monks
  produced them in large numbers
• Word of God was looked upon as sacred object with
  visual beauty- more decorative than narrative
• Precise and maze-like- followed strict rules

Cross Page from Lindisfarne Gospels, c. 700 AD
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• Human figure was beyond the Celtic or Germanic
  artists reach
• Cannot view human figure as an organic form-
  overcome with decoration

Crucifixion, plaque from a book cover, 8th C. AD
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• Carolingian Art--
• Charlemagnes empire split into 3 parts by his
  grandsons- political power held by local nobility
• Collection and copying of ancient Roman texts-an
  attempt to restore classics so they could link
  themselves to Roman empire
• Palace Chapel Aachen (capital for Charlemagne)
  based on S. Vitale- tried to recreate the
  Justinian Era
• Much harder to create on Northern soil-columns
  and bronze were imported
• Designed by Odo of Metz- earliest known
  architect north of the Alps
• Not as fluid as Byzantine- more compartmentalized
• Has a monumental entrance called a westwork- a
  two-tower façade that will become common in
  Medieval churches

Palace Chape at Aachen, 792-805 AD
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Cutaway drawing of the same
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• St. Riquier- has been completely destroyed but
  pictures remain
• More elaborate westwork
• Leads into a vaulted Narthex
• Separated from eastern transcept by a compartment
  known as the choir

Abbey Church of St. Riquier, 799 AD
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• Important document of the time period, shows the
  importance of the monastery
• Plan of a basic monastery agreed upon by central
  council that could be modified to local needs
• Complex structure that emphasized the church as
  central to the plan
• Church plan is unique to the monastery system- to
  fit the needs of the monks rather than the public
• No monastery fits this plan, but it serves as a
  guide

Plan of a Monastery, St. Gall, 820 AD
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Redrawn so its more understandable
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• Gospel books of Charlemagne have survived in
  great numbers
• St. Matthew- very classical style except for the
  halo
• Monks were very knowledgeable about Roman style
  of painting

Gospel Book of Charlemagne, c. 800-10 AD
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• Utrecht Psalter- entire book is illustrated with
  pen drawings
• Architecture, landscapes are very Roman, but very
  rhythmic rather than static

Utrecht Psalter, 820-32 AD
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• Classical style translated into Carolingian terms
• Entire picture has intense energy and motion
• the frenzy of divine inspiration
• Gazes on the symbol of St. Mark, the winged Lion-
  the divine

St. Mark, Gospel Book 816-35 AD
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• Celtic-Germanic metalwork tradition
• Crucified Christ shows no pain- had not endowed
  him with human suffering yet (this will come
  later in medieval art)

The Lindau Gospels, c. 870 AD
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• Ottonian Art
• 870 AD -remains of Charlemagnes empire was ruled
  by two grandsons who ruled France and
  Germany-Europe was weak and exposed to attack
• Normandy section of France raided by Norsemen
  (Danes and Norwegians)
• Adopted Christianity and from 911 on, leaders
  were recognized as dukes subject to king of
  France-they became an important political force
• Germany- power shifted north to Saxony- King was
  Otto I-extended rule over most of Italy and was
  crowned emperor by the Pope

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• Germany led nations politically and artistically
• Gero Crucifix at cathedral at Cologne
• Image of Christ that was new to Western art- that
  of the savior (Christ died for sins of
  humans)-concerned with the human suffering of
  Christ
• Physical strain and mask of agony seen here
• Realistic depiction of pain, but not really
  gravity (hes kind of floating rather than
  hanging)

The Gero Crucifix, 975-1000 AD
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Plan, Hildesheim Cathedral, 1001-33

• Similar to St. Michaels but much more symmetrical
• Has a harmonious balance between longitudinal and
  transverse axes

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• Nave is majestic and spatial
• Introduction of a crypt beneath the choir-
  usually housed the tomb of a saint

Hildesheim Cathedral, 1001-33
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• Gospel Book of Otto III
• Echoes of ancient art-pastel background similar
  to Roman landscapes
• Architectural scenes are now churches
• Figures look very different- Christ is seen as
  clean-shaven (Roman tradition)
• Emphasis has shifted from physical to spiritual
  action
• Christ and Peter are larger than the rest,
  disciples are crushed together

Christ Washing The Feet of Peter, from the Gospel
Book of Otto III c.1000 AD