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EARLY MEDIEVAL EUROPE GARDINER CHAPTER 16-3 PP. 422-428

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EARLY MEDIEVAL EUROPE. GARDINER CHAPTER 16-3 PP. 422-428. OTTONIANS. Charlemagne’s empire falls apart w/in 30 years of his death in 814 -> Frankish lands are partitioned -> Viking incursions -> Magyars attack the Byzantine East -> Saracens in the Mediterranean = confusion and chaos - PowerPoint PPT Presentation

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Page 1: EARLY  MEDIEVAL  EUROPE

EARLY MEDIEVAL EUROPEGARDINER CHAPTER 16-3PP. 422-428

Page 2: EARLY  MEDIEVAL  EUROPE

OTTONIANS Charlemagne’s empire falls apart w/in 30 years of

his death in 814 -> Frankish lands are partitioned -> Viking incursions -> Magyars attack the Byzantine East -> Saracens in the Mediterranean = confusion and chaos

In mid 10th century the eastern part of the former empire consolidate under the rule of a new line of Saxon emperors called the OTTONIAN -> the three Ottos

Preserved and enriched the culture and tradition of the Carolingian period

Ottonians encourage and sanctioned great monastic reform

By early 11th century -> pagan marauders became Christianized and settled

Page 3: EARLY  MEDIEVAL  EUROPE

GERNRODE Nave of the church of Saint Cyriakus,

Gernrode, Germany, 961-873

Ottonian architectects followed Carolingian style w/basilican churches with towering spires and imposing westworks -> but also introduced new features

The Ottonian church at Gernrode shows how the Early Christian basilica plan was modified -> added a gallery above the nave arcade and adopted an ALTERNATE-SUPPORT SYSTEM of piers and columns -> eye leads upward

Page 4: EARLY  MEDIEVAL  EUROPE

HILDESHEIM Saint Michael’s, Hildesheim,

Germany, 1001-1031

Built by Bishop Bernwald, a great art patron -> Saint Michael’s is a masterpiece of Ottonian basilica design

Two apses, two transepts, and multiple towers -> distinctive profile

Page 5: EARLY  MEDIEVAL  EUROPE

Longitudinal section (top) and plan (bottom) of the abbey church of Saint Michael’s, Hildesheim, Germany, 1001–1031

Saint Michael’s entrances are on the side

alternating piers and columns divide the space in the nave into vertical units -> these features transformed the tunnel-like horizontality of Early Christian basilica

Page 6: EARLY  MEDIEVAL  EUROPE

Saint Michael’s, Hildesheim, Germany, 1001–1031. One of the great patrons of Ottonian art and architecture was Bishop Bernward of Hildesheim, Germany.

Page 7: EARLY  MEDIEVAL  EUROPE

HILDESHEIM DOORS Doors with relief panels (Genesis, left door;

life of Christ, right door), commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, 1015. Bronze, 16’ 6” high

Massive piece of art for its time -> a technological marvel

Imperial overtones -> Pantheon had bronze doors, Aachen had bronze doors but with no decoration

Subject -> on left the Fall of Man (Old Testament – Adam/Eve, Cain/Abel) and on right the Redemption of Man (New Testament – Annunciation, Resurrection)

Page 8: EARLY  MEDIEVAL  EUROPE

Doors with relief panels (Genesis, left door; life of Christ, right door), commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, 1015. Bronze, 16’ 6” high. Saint Michael’s, Hildesheim.

Bernward’s doors vividly tell the story of Original Sin and ultimate redemption, and draw parallels between the Old and New Testaments, as in the expulsion from Paradise and the infancy and suffering of Christ.

Page 9: EARLY  MEDIEVAL  EUROPE

“Adam and Eve Reproached by the Lord,” bronze panel from the doors of Bishop Bernward at the cathedral, Hildesheim, West Germany, 1015

Rectangular panels with few figures, bare landscapes, emphasis on lively gestures

Bony figures, vitality and liveliness

Emphasis on extremities -> hands, feet, heads

Page 10: EARLY  MEDIEVAL  EUROPE

HILDESHEIM COLUMN

Column with reliefs illustrating the life of Christ, commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, ca. 1015–1022. Bronze, 12’ 6” tall

Page 11: EARLY  MEDIEVAL  EUROPE

Column with reliefs illustrating the life of Christ, commissioned by Bishop Bernward for Saint Michael’s, Hildesheim, Germany, ca. 1015–1022. Bronze, 12’ 6” tall. Saint Michael’s, Hildesheim.

Ottonian sculpture includes examples of large-scale bronze reliefs and monumental figural sculpture in wood.

Modeled on the Column of Trajan in Rome, the seven spiral bands of the Hildesheim column relate the life of Jesus in 24 scenes from his baptism to his entry into Jerusalem.

Page 12: EARLY  MEDIEVAL  EUROPE

GERO CRUICIFIX Crucifix commissioned by Archbishop Gero

for Cologne Cathedral, Germany, ca. 970. Painted wood, height of figure 6’ 2”

Return of large monumental sculpture

Life-size wooden work

Emotional suffering

Rounded forms

Jesus Christ hanging from a cross for the first time, seen as a human suffering crucifixion

Commissioned by Archbishop Gero for the cathedral in Cologne, Germany

Page 13: EARLY  MEDIEVAL  EUROPE

UTA CODEX Abbess Uta dedicating her codex to the

Virgin, folio 2 recto of the Uta Codex, from Regensberg, Germany, ca. 1025, tempera on parchment

Ottonian artists carried on the Carolingian tradition of producing sumptuous books for clergy and royalty

Illustrates the important role that women could play both in religious life and as patrons of the arts

Dedicatory page shows Uta presenting her codex to the Virgin Mary

Page 14: EARLY  MEDIEVAL  EUROPE

LECTIONARY OF HENRY II

Annunciation to the Shepherds, folio in the Lectionary of Henry II, from Reichenau, Germany, 1002–1014. Tempera on vellum, approx. 1’ 5” X 1’ 1”

Highly successful fusion of Carolingian-Ottonian anecdotal narrative tradition, elements from Late Antique paintiong (rocky landscape w/grazing animals), and the golden background of Byzantine art

Page 15: EARLY  MEDIEVAL  EUROPE

GOSPEL BOOK OF OTTO III

Otto III enthroned, folio 24 recto of the Gospel Book of Otto III, from Reichenau, Germany, 997–1000. Tempera on vellum, 1’ 1” x 9 3/8”

Otto III -> descended from German and Byzantine imperial lines -> enthroned and holding scepter and cross inscribed orb of universal authority

Clergy & barons on either side -> church and state