Final Review (2600)

Final Exam Review
Exam Format
  Sec3on I: Slide IDs (10)
Ar#st/Architect
Title
Culture/Stylis#c Period
Cultural Signiﬁcance
  Sec3on II: Chronology (3)
Place Slides in Proper
Chronological Order.
  Sec3on III: Essays (2)
Study your major
themes
Good to Know…
  Exam Date: Tuesday May 14th,
2013 from 8:00-‐10:00.
  The Final is worth 30% of your
ﬁnal grade.
  Full study guide is on
Blackboard under “Study
Guides and Handouts”
  Second Chance: Your late
Image and Text assignments
are due TODAY
  Second Chance: Your Image
and Text redos are due
Tuesday May 14th.

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Slide IDs: Cultural/Stylis3c Periods
Cultural/Stylis,c Periods
1. Late An3quity 7. Carolingian
2. Byzan3ne 8. O`onian
3. Anglo-‐Saxon 9. Romanesque
4. Hiberno-‐Saxon 10. Early Gothic
5. Frankish 11. High Gothic
6. Norse 12. Late Gothic

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Slide IDs
Ar3st:
Title:
Stylis3c Period:
Signiﬁcance:

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Chronology
(a) (b) (c)

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Emo3onality in medieval art
Ideas
•  Romanesque: Anxiety,
Tension, milennium (1000 CE),
power,
•  Gothic: looser, less anxious,
Mary (the Virgin), kindness,
love, peace, comfort, motherly
love, closer more in3mate
rela3onship with God, a
personal rela3onship, warmer
climate, more food, more
surplus, ﬁnancial success,
Images
•  Romanesque: cramped space,
heaven/hell, apocalypse (last
judgment),
–  Ste. Foy at Conques
–  Ste. Madeleine at Vezeley
–  St. Lazare at Autun
•  Gothic: Personal devo3on,
smoother mo3on, more space in
sculpture, more order, symmetry,
heaven on earth, rich materials,
strong ver3cals, light (= goodness),
stained glass windows (requiring
bu`resses),
•  Notre Dame de Paris,
•  Notre Dame de
•  St. Denis

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Christ in Majesty, South portal of Saint-Pierre,
Moissac, France, c.1115 (See 15-2).
Ma`hew
Mark Luke
John
Twenty-‐Four Elders

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Trumeau, South Portal
Lions and Old Testament
Prophet (Jeremiah or Isaiah?)
c.1115
Church of Saint-Pierre
Moissac, France
(Stokstad 15-23)
15-23, Trumeau, South Portal, Lions and Old Testament
Prophet (Jeremiah or Isaiah?), Church of Saint-Pierre,
Moissac, France, c.1115

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15-‐24, Vices/Lazarus, Porch,
South Portal, Priory Church
at Moissac, France, c. 1115.

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15-‐24, Lazarus and Dives, Porch, South
Portal, Priory Church at Moissac, France, c.
1115.

Dives

Lazarus the Leper

Soul

Soul

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Death
of a
Miser
Torment of
Avarice
Torment
of Lust
Scene of
Torment

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Christ in Majesty

Good Wicked

Hell

Heaven
Monastery of Ste. Foy, Conques, France,
11th and 12th Century.

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Monastery of Ste. Foy, Conques, France, 11th and 12th Century.

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478, Giselbertus (?), Last Judgment Tympanum,
Autun Cathedral, 1120-‐1130, or 1130-‐1145.

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462, Reliquary statue of Sainte Foy (St. Faith),
Conques, France, 9th-10th centuries.
Furtum Sacrum =
“Sacred Thek”

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16-‐7, Royal Portal, West Façade, Chartres
Cathedral, c. 1145-‐1155.

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Central Tympanum, Royal Portal, West Façade,
Chartres Cathedral, c. 1145-‐1155 (See 16-‐7).
Seven Liberal Arts

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Virgin and Child and angels (Notre Dame de la
Belle Verrière), Window at Chartres
Cathedral, c.1170.

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17-‐16, Virgin and Child, originally from St. Denis, c.
1324-‐1339.

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550, Jean Pucelle, Betrayal of Judas and the Annuncia3on,
the Book of Hours of Jeanne d’Evreux, 1325-‐1328.

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Materiality
Ideas
•  Lapis Lazuli (Blue): visual:
vibrant, rich, social/
culture: rare and far away
(Afghanistan), expensive,
associated with the
Virgin, subjects of
importance,
•  Gold: visual: shiny, like
sunlight, social/culture:
expensive, purity, light/
enlightenment,
Images
•  Windows (color/light)
–  Notre Dame de Chartes
•  Ivory Chest
•  Imported – exo3c – rare
•  Reliquaries
•  Virgin of Jeanne D’Evreux
•  Gold
•  Gems and Pearls
•  Relic
•  Golden Mosaics
–  Hagia Sophia

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The Sack of Jericho, Santa Maria Maggiore, Rome, c. 422-‐432.

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The Virgin Crowned as Queen of Heaven, Santa Maria Maggiore,
Rome, Apsidal Mosaic redone in 1294 by Jacopo Torri3.

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What is an Icon?
  General: Two-‐
dimensional
representa3ons
  Speciﬁc: Pictures of
holy persons, events,
venerated by the
Eastern church.
7-‐29, Virgin Enthroned with Saints and Angels, St.
Catherine’s of Mount Sinai, Egypt, 6th Century CE.

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14-‐5, St. Ma`hew from the Book of
Durrow, Hiberno-‐Saxon, 660-‐680
Detail from the Purse Cover, Su`on Hoo,
Anglo-‐Saxon, 7th century.

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Crown of Charlemagne, Replica, Aachen, 9th
Century.
14-13, Equestrian portrait of Charles the
Bald (grandson of Charlemagne) 9th c.

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Plaque reads (in Latin):
THIS IS THE KING OF THE
JEWS
14-‐19, Cruciﬁxion with
angels and mourning
ﬁgures, front cover of the
Lindau Gospels, From
Saint Gall, c.870-‐880

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Gero Crucifix commissioned by Archbishop Gero,
Cathedral, Cologne, c.970

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Casket of Santiago, Cathedral,
Santiago de Compostela, 19th
century.
The stone under the altar,
Santiago de Compostela, 3rd
or 4th century.
Thought to be where the
boat carrying the saint body
docked, but actually
dedicated to a Roman god.

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Reliquary of Ste. Madeleine, Vezelay,
France, 1281.

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30˚
20˚
10˚
0˚
Cu
Cu
Cu
Cu
Cu
Pb
Pb
Sn
Sn
Venice
Verona
Assisi
Rome
Vienna Buda
Innsbruck
Prague
Geneva
Paris
Rouen
Arras
Reims
Espalato
Durazzo
Zara
Trieste Belgrade
Alexandria Damietta
Famagusta
Antioch
Constantinople
Smyrna
Candia
Kaffa
Trebizond
Moncastro
Kiliya
Syracuse
Tripoli
Messina
Palermo
Tunis
Algiers
Granada
Palma
Cádiz
Córdoba
Seville
Melilla
Lisbon
Southampton
London
Hull
Mainz
Worms
Hamburg
Bremen
Cracow
Breslau
Danzig
Kiev
Novgorod
Christiania
Bergen
Stockholm
Nuremburg
Lübeck
Edinburgh
Bruges
Genoa
Siena
Marseille
Cagliari
Lyon
Dijon
Poitiers
Aigues-
Mortes
Valencia
Barcelona
León
Milan
Tripoli
Beirut
Acre
Jaffa
Loire
Ebro
Tagus
Danube
Dneiper
Rhine
Elbe
Seine
L A N T I C
C E A N
N O R T H
S E A BA
L
T I C
S E A
B L A C K S E A
M E D I T E R
R
A
N
E
A N S E A
PYRENEES
CARPATHIAN MTS
A
L
P S
CYPRUS
CORSICA
CRETE
SARDINIA
SICILY
BALEARIC IS
F R I C A
E G Y P T
0
0
300 miles
400 kms
raw materials:
gold
silver
iron
copper
lead
tin
ivory
timber
wax
gems
silk
spices
hides
wool
linen
furs
Cu
Pb
Sn
2 Trade and Transmission
Venetian trade routes
Genoese trade routes
Hanseatic League trade routes
major inland trade routes
route of Fourth Crusade, 1202-04
Fifth Crusade, 1217-21
Seventh Crusade, 1248-54
Eighth Crusade, 1270
artistic influence from Paris
artistic influence from Constantinople
imported goods
Louis’ Procession

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The legacy of the Roman Empire in
medieval art:
Ideas:
•  Syncre3sm: Orb, Angel/Nike,
Wreath, Architecture, Toga,
Oratory Gesture, halo,
•  Spolia: spoils – harves3ng of
architecture
Images:
•  Michael
•  Equestrian Statues
–  Jus3nian, Charles the
Bald (Holy Roman
Emperor),
–  Ravenna: columns to the
Palace chapel of
Charlemagne

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Menorah
Trumpets
Spoils Relief, Arch of Titus, Rome, 81 CE

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Jonah
Peter
Marcelinus
7-‐5, Good Shepherd, Orants, and the Story of Jonah, Catacomb of SS.
Peter and Marcellinus, Rome, Late 3rd-‐Early 4th century CE.
Narra3ve Image

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Figures from the Story of Jonah, Turkey (?), Late Third
Century CE. (See 7-‐6)
Jonah given to the whale Jonah being cast up Jonah res3ng under the arbor

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The Good Shepherd, Turkey (?),
Late Third Century CE
Hermes Kriophoros, Crete, 620
BCE
Syncre3sm is the conscious or unconscious adapta3on of
images from one tradi3on to another, giving the image a new
meaning.

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Sarcophagus with
Endymion, early 3rd
Century CE
Sarcophagus with
Jonah, c. 270 BCE
Syncre3sm is the conscious or unconscious adapta3on of
images from one tradi3on to another, giving the image a new
meaning.

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7-‐6, Orant Figure
(Jonah), Turkey (?),
Late Third Century CE.
Man with raised arms,
Arlon, Belgium, c. 3rd
century CE
Orant Figures

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7-‐4, The Par3ng of the Red Sea, Torah Niche, House
Synagogue, Dura Europos, 244-‐45 CE
Moses
Moses
Egyp3an Soldiers
Hands of God
Egyp3an Soldiers
*Con3nuous Narra3ve

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Centrally Planned Churches
Church of Santa Costanza
Plan, Rome, c. 350 CE
Mausoleum of Augustus,
Rome, c. 14 CE

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Church of Santa Costanza, Rome, c. 350 CE. (See Pg. 228)
Mausoleum of Augustus, Rome, c. 14 CE

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7-‐11, Wine Making, Church of Santa Costanza, Rome, c. 350 CE
Dionysus Seated Among Vines,
House of the Masks, Delos Late
2nd Century BCE
John 15:1-‐17 lI am the true vine, and my
Father is the vinedresser…z

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7-‐8, Church of Santa Sabina, Rome, c. 422-‐432.
Basilica of Trajan, Rome, 112
Church of Santa Sabina, Rome,
c. 422-‐432.

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7-‐9, Church of Santa Sabina, Rome, c. 422-‐432.
Spolia Basilica Ulpia, Forum of Trajan, Rome,
112-‐117, dedicated 117 CE.

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7-‐26, St. Michael the Archangel, Ivory
Panel, Constan3nople, 6th Century CE
Could be another
angel or an
emperor receiving
this orb.
Diptych = Di (Two) Ptukhe (Fold)

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7-‐26, St. Michael the Archangel, Ivory
Panel, Constan3nople, 6th Century CE
Ara Pacis, Procession (Detail),
Rome, 13 BCE.

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7-‐26, St. Michael the Archangel,
Ivory Panel, Constan3nople, 6th
Century CE
Nike Adjus3ng her Sandal, Temple
to Athena Nike, Acropolis, Athens,
440 BCE.
Wing

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Jus3nian as the
Defender of the Faith
(Barbarini Ivory), mid-‐
sixth century CE.
Jus3nian as Victor

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Jus3nian as defender of the faith,
(Barberini Ivory), mid-‐6th century.
Equestrian Statue of Marcus
Aurelius, Rome, 161-‐180 CE.

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Equestrian Statue of Charles the
Bald, 9th century CE.
(Barbarini Ivory), mid-‐sixth century.

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(Barberini Ivory), mid-‐sixth century
CE.
“At the summit of the column stands a
huge bronze hors turned towards the
east, a most noteworthy sight….Upon this
horse is mounted a bronze image of the
Emperor like a colossus….He wears a
cuirass in heroic fashion and his head is
covered with a helmet…and a kind
radiance flashes forth from there….He
gazes towards the rising sun, steering his
course, I suppose, against the Persians.
In his lek hand he holds a globe, by which
the sculptor has signified that the whole
earth and sea were subject to him, yet he
carries neither sword no spear nor any
other weapon, but a cross surmounts his
globe, by virtue of which alone he has
won the kingship and victory in war.
Stretching forth his right hand towards
the regions of the East and spreading out
his fingers, he commands the barbarians
that dwell there to remain at home and
not to advance any further.”

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CE.

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Jus3nian as defender of the faith, (Barberini Ivory), mid-‐sixth century
CE.

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CE.

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Jus3nian as defender of the faith, (Barberini Ivory), mid-‐sixth century
CE.

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Jus3nian as the
sixth century CE.
Conquered
Heathens and
Barbarians giving
Tribute.

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Jus3nian as the
sixth century CE.
Military oﬃcer
presen3ng a
trophy to
Jus3nian.

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Jus3nian as the
sixth century CE.
Christ Blessing
Jus3nian

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Pg. 431 B, The Evangelist
Ma`hew, Lindisfarne
Gospels, Scotland 710-‐725
CE.
Pg. 431 C, Ezra Repairing the Gospels,
Codex Amia3nus, 680-‐715.

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Pg. 431B, St. Matthew Writing His
Gospel, Lindisfarne Gospels, from
Lindisfarne, England, c.715- 720.
14-18, Saint Matthew, Folio 18, Ebbo
Gospels, from Hautevillers, c. 816-835.

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14-17, Saint Matthew. Folio 15.
Coronation Gospels, from Aachen. c.
800-810.
14-18, Saint Matthew, Folio 18,
Ebbo Gospels, from Hautevillers, c.
816-835.

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14-12, Equestrian portrait of Charles the Bald
(grandson of Charlemagne), 9th century.

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6-52, Equestrian statue of Marcus Aurelius.
Roman Imperial, Rome, c.176 CE.
14-12, Equestrian portrait of Charles the
Bald (grandson of Charlemagne) 9th c.
renovatio imperii Romani
renewal of the Roman empire

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★ The knowledge to make concrete was lost to
Medieval Europe.
Saint-‐Mar3n-‐du-‐Canigou, French Pyrenees,
1001-‐1026 (See 15-‐2).
Groin Vault

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16-‐16, Visita3on, West Façade,
Cathedral of Notre Dame,
Reims, France, 1211-‐1286.
Roman Sarcophagus from
Reims, Detail, 260-‐265 CE

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Elizabeth from the Visita3on,
Reims Cathedral (West
Facade), c. 1230.
Portrait of a Flavian Matron,
90-‐100 CE.

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The Virgin, from the Visita3on,
Reims Cathedral (West
Facade), c. 1230.
Portrait of a Roman Matron,
110-‐120 CE.

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16-‐16, Visita3on (1230) and Annuncia3on (1240-‐1250),
West Façade, Cathedral of Notre Dame, Reims, France.

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Controversy over images in
Chris3anity:
Ideas Images

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*Venera,on is the act of honoring
Christ and saints through their image.
Processions

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Kissing

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Proskynesis

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Iconoclasts (Breakers of Images):
1)  Icons are akin to the “graven images” men3oned
in the second commandment: “4 Thou shalt not
make unto thee any graven image, or any likeness
of any thing that is in heaven above, or that is in
the earth beneath, or that is in the water under
the earth:5 thou shalt not bow down thyself to
them, nor serve them.” (Exodus 20: 4-‐5)
2)  Icons are man made, as opposed to relic, and do
not deserve to be venerated: “The divine nature is
completely uncircumscribable and cannot be
depicted or represented by ar,sts in any medium
whatsoever.” (Iconoclas,c Council, 754)

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Portal, Fontenay Abbey Portal, Priory Church, Moissac
Façade, Fontenay Abbey, France,
1139-‐1147.

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“immoderate height of [Cluniac] churches…their
immoderate length, their excessive width,
sumptuous decora3on and ﬁnely executed
pictures, which divert the a`en3on of those
who are praying.”
– Bernard of Clairvaux, Apologia.
15-‐9, Nave, Fontenay Abbey,
France, 1139-‐1147.
15-‐8, Nave, Monastery at
Cluny, France, 1088-‐1130.

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Capital Detail
Capital Detail
15-‐9, Nave, Fontenay Abbey,
France, 1139-‐1147
Cloister, Priory Church,
Moissac,

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“What proﬁt is there in those ridiculous monsters, in
that marvelous and deformed comeliness, that
comely deformity?...So many and so marvelous are
the varie3es of divers shapes on every hand that we
are more tempted to read in the marble than in our
books, and spend the whole day in wondering at
these things than in medita3ng upon the law of God.
For God’s sake, if men are not ashamed of these
follies, why at least do they not shrink from the
expense?”
–Bernard of Clairvaux
Historiated Capital with Lions’ Heads, Cloister,
Priory Church, Moissac, France, c. 1115.

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Iconodules (Lovers of Images):
1)  Icons are powerful didac3c tools: “An image is, aSer
all, a reminder; it is to the illiterate what a book is
to the literate, and what the word is to hearing, the
image is to sight.” (John of Damascus)
2)  Icons are a valuable proxy by which the faithful could
demonstrate their love and honor for the divine:
“God created man to his own image” (Genesis 1:27)
3)  Icons are a valid way to communicate Christ’s
humanity and suﬀering: “How, indeed, can the Son
of God be acknowledged to have been a man like us
—he who was deigned to be called our brother—if
he cannot be depicted?”

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Pg. 246, The Cruciﬁxion
and Iconoclasts
whitewashing an icon of
Christ, Khludov Psalter,
850-‐75.

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Simon Magus and
Patriarch
Nikephoros,
Khludov Psalter,
850-‐75.

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Angel Dragging Iconoclast, Khludov Psalter,
850-‐75.

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“Delight in the beauty of the house of
God…call him away from external
cares…dwelling in some strange region
of the universe which neither exists
en3rely in the slime of the earth nor
en3rely in the purity of heaven…
transported from this inferior to that
higher world.”
“We profess that we must do homage
through the outward ornaments of
sacred vessels, and to nothing in the
world in an equal degree to the service
of the Holy Sacriﬁce, with all inner
purity and with all outward splendor.”
Abbot Suger, Jesse Window, St.
Denis, c. 13th century (See 16-‐2
and 16-‐3).

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Bernard of Clairvaux, Upper Rhein,
c. 1450.
“Money is won with such skill that it may be
mul3plied. It is expended so that it may be
increased, and pouring it out produces
abundance. The Reason is that the very sight
of these costly but wonderful illusions inflames
the men more to give than to pray.”
“To me [golden images] somehow represent
the ancient rite of the Jews… Or is it that since
we have been mingled with the gen3les,
perhaps we have also adopted their ways and
even serve their idols.”
“O vanity of vani3es, but no more vain than
insane! The Church is radiant in its walls and
des3tute in its poor. It dresses its stones in
gold and it abandons its children naked. It
serves the eyes of the rich at the expense of
the poor. The curious find that which may
delight them, but those in need do not find
that which should sustain them.”

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Religious Spaces
Ideas Images

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Chris3an House Church, Dura Europos, Syria, c.
244-‐245 CE.

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Chris3an House Church,
Dura Europos, Syria, c.
244-‐245 CE

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7-17, Anthemius of Tralles and Isidorus of Miletus, Church of
Hagia Sophia, Constantinople (Istanbul), 532-537.

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7-17, Anthemius of Tralles and Isidorus of Miletus, Interior of Hagia Sophia,
Constantinople (Istanbul), 532-537.
240 Feet
270 Feet

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180 Feet
7-19, Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
“Solomon I have surpassed thee.”

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Anthemius of Tralles and Isidorus of
Miletus. Plan of Hagia Sophia.
Constantinople (Istanbul). 532-537.
(Stokstad 7-18)
7-19, Anthemius of Tralles and Isidorus of
Miletus, Interior of Hagia Sophia,

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Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
Constantinople (Istanbul), 532-537. (See 7-19)
“a golden chain from Heaven”
“the ﬁrmament which rests on air”

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“gilded tesserae from which a gli`ering stream
of golden rays pours abundantly and strikes
men’s eyes with irresis3ble force. It is as if one
were gazing at the midday sun in spring.”
“Light comes from the Good and …light is
the visual image of God.”

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Who…shall sing the marble meadows gathered
upon the mighty walls and spreading
pavement…[There is stone] from the green
flanks of Carystus [and[ the speckled Phrygian
stone, some3mes rosy mixed with white,
some3mes gleaming with purple and silver
flowers. There is a wealth of porphyry stone,
too, besprinkled with li`le bright stars….You
may see the bright green stone of Laconia and
glièring marble with wavy veins found the
deep gullies of the Iasian peaks, exhibi3ng
slan3ng streaks of blood-‐red and livid white;
the pale yellow with swirling red from the
Lydian headland; the glièring crocus-‐like
golden stone [of Libya];….glièring [Cel3c]
black [with] here and there abundance of milk;
the pale onyx with glint of precious metal; and
[Thessalian marble] in parts vivid green not
unlike emerald….It has spots resembling snow
next to flashes of black so that in one stone
various beau3es mingle.”

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Men
Women
Clergy
Men
Women
“No ma`er how much the concentrate their
a`en3on on this and that, and examine
everything with contracted eyebrows, they
are unable to understand the craksmanship
and always depart from there amazed by the
perplexing spectacle.”

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7-20, Aerial view of San
Vitale, Ravenna, Italy, c.
520-547.
7-20, Plan of San Vitale,
Ravenna, Italy, c.520-547.
Central
Domed
Area
Narthex

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Interior of San Vitale, as seen from apse, Ravenna, Italy,
c.520-547.
Plan

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Interior of San Vitale, as seen towards apse.
Ravenna, Italy. c.520-547. (See 7-21)

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Restored View of the third abbey church (Cluny III), Cluny,
France, 1088-‐1130 (See 15-‐7 and 15-‐8).

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Throne
Altar
Dome
Christ
Interior of the Palace Chapel of Charlemagne. Aachen,
792-‐805 (See 14-‐13).

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14-‐13, Interior of the Palace Chapel of
Charlemagne, Aachen, 792-‐805.
Throne
Restored plan of the Palace Chapel of
Charlemagne, Aachen, 792-‐805.
Entrance
Throne
Altar (1st
ﬂoor)
Christ
(dome)

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Ambulatory and Apse Chapel, Abbey
Church of St. Denis, France, 1140-‐1144
(See 16-‐2 and 16-‐3).
Transept, Abbey Church of St.
Denis, France, 1140-‐1144 (See
16-‐2 and 16-‐3).

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“Invisible Art”
16-‐13, Rose Window and Lancets, North Transept, Chartres Cathedral,
France, 1230-‐1235.

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Church of Sainte-‐Chapelle, Paris,
1239-‐1248 (See 508A).

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509B, Upper Chapel, Church of Sainte-‐
Chapelle, Paris, 1239-‐1248.

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Upper Chapel, Church of Sainte-‐Chapelle,
Paris, 1239-‐1248 (See 509B).

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Final Review (2600)

Final Review (2600)

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