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Final Review (2600)

Final Review (2600)

nichsara

May 09, 2013
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  1. 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.  
     

    View Slide

  2. 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  

    View Slide

  3. Slide  IDs  
    Ar3st:  
    Title:  
    Stylis3c  Period:  
    Significance:  

    View Slide

  4. Chronology  
    (a)   (b)   (c)  

    View Slide

  5. 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  

    View Slide

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

    View Slide

  7. 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

    View Slide

  8. 15-­‐24,  Vices/Lazarus,  Porch,  
    South  Portal,  Priory  Church  
    at  Moissac,  France,  c.  1115.    

    View Slide

  9. 15-­‐24,  Lazarus  and  Dives,  Porch,  South  
    Portal,  Priory  Church  at  Moissac,  France,  c.  
    1115.    
     
     
     
    Dives  
     
     
     
    Lazarus  the  Leper  
     
    Soul  
     
    Soul  

    View Slide

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

    View Slide

  11.  
     
     
     
     
     
    Christ  in  Majesty  
     
     
     
     
     
    Good                                    Wicked  
     
     
     
     
     
     
     
     
     
     
     
     
    Hell  
     
     
     
     
     
     
     
     
     
     
     
     
    Heaven  
    Monastery  of  Ste.  Foy,  Conques,  France,  
    11th  and  12th  Century.  

    View Slide

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

    View Slide

  13. 478,  Giselbertus  (?),  Last  Judgment  Tympanum,  
    Autun  Cathedral,  1120-­‐1130,  or  1130-­‐1145.  

    View Slide

  14. 462, Reliquary statue of Sainte Foy (St. Faith),
    Conques, France, 9th-10th centuries.
    Furtum  Sacrum  =    
    “Sacred  Thek”  

    View Slide

  15. 16-­‐7,  Royal  Portal,  West  Façade,  Chartres  
    Cathedral,  c.  1145-­‐1155.  

    View Slide

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

    View Slide

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

    View Slide

  18. 17-­‐16,  Virgin  and  Child,  originally  from  St.  Denis,  c.  
    1324-­‐1339.  

    View Slide

  19. 550,  Jean  Pucelle,  Betrayal  of  Judas  and  the  Annuncia3on,  
    the  Book  of  Hours  of  Jeanne  d’Evreux,  1325-­‐1328.  

    View Slide

  20. 550,  Jean  Pucelle,  Betrayal  of  Judas  and  the  Annuncia3on,  
    the  Book  of  Hours  of  Jeanne  d’Evreux,  1325-­‐1328.  

    View Slide

  21. 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  

    View Slide

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

    View Slide

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

    View Slide

  24. 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.    

    View Slide

  25. 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.  

    View Slide

  26. 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.  

    View Slide

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

    View Slide

  28. 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  

    View Slide

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

    View Slide

  30. 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.  

    View Slide

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

    View Slide

  32. 30˚
    20˚
    10˚

    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  

    View Slide

  33. 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  

    View Slide

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

    View Slide

  35. 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  

    View Slide

  36. 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  

    View Slide

  37. 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.  

    View Slide

  38. 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.  

    View Slide

  39. 7-­‐6,  Orant  Figure  
    (Jonah),  Turkey  (?),  
    Late  Third  Century  CE.  
    Man  with  raised  arms,  
    Arlon,  Belgium,  c.  3rd  
    century  CE  
    Orant  Figures  

    View Slide

  40. 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  

    View Slide

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

    View Slide

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

    View Slide

  43. 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  

    View Slide

  44. 7-­‐8,  Church  of  Santa  Sabina,  Rome,  c.  422-­‐432.  
    Basilica  of  Trajan,  Rome,  112    
    Church  of  Santa  Sabina,  Rome,  
    c.  422-­‐432.  

    View Slide

  45. 7-­‐9,  Church  of  Santa  Sabina,  Rome,  c.  422-­‐432.  
    Spolia   Basilica  Ulpia,  Forum  of  Trajan,  Rome,  
    112-­‐117,  dedicated  117  CE.  

    View Slide

  46. 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)  

    View Slide

  47. 7-­‐26,  St.  Michael  the  Archangel,  Ivory  
    Panel,  Constan3nople,  6th  Century  CE  
    Ara  Pacis,  Procession  (Detail),  
    Rome,    13  BCE.  

    View Slide

  48. 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  

    View Slide

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

    View Slide

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

    View Slide

  51. Equestrian  Statue  of  Charles  the  
    Bald,  9th  century  CE.  
    Jus3nian  as  defender  of  the  faith,  
    (Barbarini  Ivory),  mid-­‐sixth  century.  

    View Slide

  52. Jus3nian  as  defender  of  the  faith,  
    (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.”  

    View Slide

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

    View Slide

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

    View Slide

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

    View Slide

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

    View Slide

  57. Jus3nian  as  the  
    Defender  of  the  Faith
    (Barbarini  Ivory),  mid-­‐
    sixth  century  CE.  
    Conquered  
    Heathens  and  
    Barbarians  giving  
    Tribute.  

    View Slide

  58. Jus3nian  as  the  
    Defender  of  the  Faith
    (Barbarini  Ivory),  mid-­‐
    sixth  century  CE.  
    Military  officer  
    presen3ng  a  
    trophy  to  
    Jus3nian.  

    View Slide

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

    View Slide

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

    View Slide

  61. 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.

    View Slide

  62. 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.

    View Slide

  63. 14-12, Equestrian portrait of Charles the Bald
    (grandson of Charlemagne), 9th century.

    View Slide

  64. 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

    View Slide

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

    View Slide

  66. 16-­‐16,  Visita3on,  West  Façade,  
    Cathedral  of  Notre  Dame,  
    Reims,  France,  1211-­‐1286.  
    Roman  Sarcophagus  from  
    Reims,  Detail,  260-­‐265  CE  

    View Slide

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

    View Slide

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

    View Slide

  69. 16-­‐16,  Visita3on  (1230)  and  Annuncia3on  (1240-­‐1250),  
    West  Façade,  Cathedral  of  Notre  Dame,  Reims,  France.  

    View Slide

  70. Controversy  over  images  in  
    Chris3anity:    
    Ideas   Images  

    View Slide

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

    View Slide

  72. View Slide

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

    View Slide

  74. View Slide

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

    View Slide

  76. View Slide

  77. 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)  

    View Slide

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

    View Slide

  79. “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.  

    View Slide

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

    View Slide

  81. “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.  

    View Slide

  82. 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?”  

    View Slide

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

    View Slide

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

    View Slide

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

    View Slide

  86. “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).    

    View Slide

  87. 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.”  

    View Slide

  88. Religious  Spaces  
    Ideas   Images  

    View Slide

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

    View Slide

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

    View Slide

  91. 7-17, Anthemius of Tralles and Isidorus of Miletus, Church of
    Hagia Sophia, Constantinople (Istanbul), 532-537.

    View Slide

  92. 7-17, Anthemius of Tralles and Isidorus of Miletus, Interior of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    240  Feet  
    270  Feet  

    View Slide

  93. 180  Feet  
    7-19, Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    “Solomon  I  have  surpassed  thee.”  

    View Slide

  94. 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,
    Constantinople (Istanbul), 532-537.

    View Slide

  95. 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”  

    View Slide

  96. 7-19, Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    “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.”  

    View Slide

  97. 7-19, Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    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  
    gli`ering  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  gli`ering  crocus-­‐like  
    golden  stone  [of  Libya];….gli`ering  [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.”  

    View Slide

  98. Men  
    Women  
    Clergy  
    7-19, Anthemius of Tralles and Isidorus of Miletus, Church of Hagia Sophia,
    Constantinople (Istanbul), 532-537.
    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.”  

    View Slide

  99. 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  

    View Slide

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

    View Slide

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

    View Slide

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

    View Slide

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

    View Slide

  104. 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)  

    View Slide

  105. 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).  

    View Slide

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

    View Slide

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

    View Slide

  108. 509B,  Upper  Chapel,  Church  of  Sainte-­‐
    Chapelle,  Paris,  1239-­‐1248.  

    View Slide

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

    View Slide