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Europe After the Fall of Rome:

Early Medieval Art in the West

Early Medieval Art

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Early Medieval Sites in Europe

Time Period 500-1050

Hiberno- Saxon Art 6th-8th centuriesBritish Isles

Viking Art 8th-11th centuriesScandinavia

Carolingian Art 8th-9th centuriesFrance, Germany

Ottonian Art 10th-early 11th centuriesGermany

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Key Ideas:

Early migratory period of the Early Middle Ages featured portable works done in the animal style.

Hiberno-Saxon Art: Illuminated Manuscripts, interlacing patterns

Carolingian Art: First revival of classical art beyond the ancient world (Charlemagne)

Ottonian Art: revives large scale sculpture and architecture

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Merovingian looped fibula, from Jouy-le-Comte, France, mid sixth century. Silver gilt worked in filigree, with inlays of garnets and other stones, 4” long. Musée des Antiquités Nationales, Saint-Germain-en-Laye.

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Aerial view, Sutton Hoo, Suffolk 1983

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The helmet has become a symbol of the Sutton Hoo burial; yet it survived as a mass of small pieces, and was only reconstructed after years of painstaking work in the British Museum Laboratory.

Photo: British Museum

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Suffolk-East Coast,

England

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At the centre of the chamber was presumably the body - though as the soil was so acid, it had not survived. Around the body were the most personal treasures. Above is the great 'purse lid' with elaborate gold decorations on the outside. The purse was probably attached to a wide leather belt by the three hinges at the top and fastened by the sliding catch at the bottom. The purse contained 37 gold coins, dated to around AD 625. Below left: One of the buckles that fastened the king's belt, made of gold, inlaid with red garnets.

 

 CLOISONNE

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Figure 16-2 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and enamel cloisonné with garnets and emeralds, 7 1/2” long. British Museum, London.

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Figure 16-3 Animal-head post, from the Oseberg, Norway, ship burial, ca. 825. Wood, head approx. 5” high. Vikingskipshuset, Oslo.

http://www.staffordshirehoard.org.uk/

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Figure 16-4 Wooden portal of the stave church at Urnes, Norway, ca. 1050–1070.

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Figure 16-5 Man (symbol of Saint Matthew), folio 21 verso of the Book of Durrow, possibly from Iona, Scotland, ca. 660–680. Ink and tempera on parchment, 9 5/8” X 6 1/8”. Trinity College Library, Dublin.

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Figure 16-6 Cross and carpet page, folio 26 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London.

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Lindisfarne, Holy Island

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Figure 16-7 Saint Matthew, folio 25 verso of the Lindisfarne Gospels, from Northumbria, England, ca. 698–721. Tempera on vellum, 1’ 1 1/2” X 9 1/4”. British Library, London.

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Figure 16-8 Chi-rho-iota page, folio 34 recto of the Book of Kells, probably from Iona, Scotland, late eighth or early ninth century. Tempera on vellum, 1’ 1” X 9 1/2”. Trinity College Library, Dublin.

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Figure 16-9 High Cross of Muiredach (east face), Monasterboice, Ireland, 923. Sandstone, approx. 18’ high.

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Figure 16-9 Alternate ViewTotal: West Side of the Cross

© 2005 Saskia Cultural Documentation, Ltd.

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Figure 16-11 Equestrian portrait of Charlemagne or Charles the Bald, from Metz, France, ninth century. Bronze, originally gilt, 9 1/2” high. Louvre, Paris.

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Figure 16-11 Alternate ViewTotal, right side

© 2005 Saskia Cultural Documentation, Ltd.

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Figure 16-12 Saint Matthew, folio 15 recto of the Coronation Gospels (Gospel Book of Charlemagne), from Aachen, Germany, ca. 800–810. Ink and tempera on vellum, 1’ 3/4” X 10”. Schatzkammer, Kunsthistorisches Museum, Vienna.

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Figure 16-13 Saint Matthew, folio 18 verso of the Ebbo Gospels (Gospel Book of Archbishop Ebbo of Reims), from Hautvillers (near Reims), France, ca. 816–835. Ink and tempera on vellum, 10 1/4” X 8 3/4”. Bibliothèque Municipale, Épernay.

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Figure 16-15 Crucifixion, front cover of the Lindau Gospels, from Saint Gall, Switzerland, ca. 870. Gold, precious stones, and pearls, 1’ 1 3/8” X 10 3/8”. Pierpont Morgan Library, New York.

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Figure 16-17 Interior of the Palatine Chapel of Charlemagne, Aachen, Germany, 792–805.

Charlemagne crowned here Christmas Day 800.

Built specifically for Charlemagne.

Central building plan, resembles San Vitale in Italy.

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Figure 16-17 Alternate ViewView of the Interior

© 2005 Saskia Cultural Documentation, Ltd.

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Figure 16-18 Torhalle (gatehouse), Lorsch, Germany, ninth century.

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Figure 16-18 DetailDetail of red and beige brick surface treatment

© 2005 Saskia Cultural Documentation, Ltd.

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Figure 16-20 Westwork of the abbey church, Corvey, Germany, 873–885.

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Figure 16-21 Nave of the church of Saint Cyriakus, Gernrode, Germany, 961–973.

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Figure 16-22 Saint Michael’s, Hildesheim, Germany, 1001–1031.

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Figure 16-23 Longitudinal section (top) and plan (bottom) of the abbey church of Saint Michael’s, Hildesheim, Germany, 1001–1031.

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Figure 16-24 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.

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Figure 16-25 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.

AP Art History Exam Question:

Compare and Contrast Essay: Name and date these two pieces, and place them in the correct culture and context. How are they similar? How are they different? Be specific and attempt to use the correct art historical terminology.

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Figure 16-26 Crucifix commissioned by Archbishop Gero for Cologne Cathedral, Germany, ca. 970. Painted wood, height of figure 6’ 2”.

Return of monumental life sized sculpture.

Life sized wooden work

Emotional suffering

Rounded forms

Hanging from the cross for the first time

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Figure 16-28 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”. Bayerische Staatsbibliothek, Munich.

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Figure 16-29 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”. Bayerische Staatsbibliothek, Munich.

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Historiated Initial at the beginning of words and chapters directly from the Medieval Illuminated Manuscripts.