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Unit 6

Early Medieval Europe

AP Art History

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Early Medieval Sites in Europe

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Goals

• Understand the distinctive artistic traditions of the European

peoples after the fall of the Roman Empire.

• Understand the chronological placement of this period following

the fall of the western Roman Empire in the fourth century but

preceding the Romanesque period of the 11th century.

• Know the different types of art, media, and their respective

cultures.

• Appreciate the role of Christian monks in preserving and creating

art

• Trace influences of medieval art styles.

• Examine the secular and religious architectural forms in the early

Middle Ages.

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Northern European Art

• Understand the artistic, technical and stylistic traditions of

the northern European peoples.

• Know the different types of art and the respective cultures

associated with the Merovingians, Anglo-Saxons, and

Vikings.

• Examine the artistic traditions applied to a variety of media,

such as wood, stone, and metal.

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Merovingian and Saxon Art

• Understand the artistic, technical and stylistic traditions.

• Know the different types of art and the respective cultures

associated with the Merovingians and Saxons.

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Figure 16-2 Pair of Merovingian looped fibulae, from Jouy-le-Comte, France, mid-sixth century. Silver gilt worked in filigree,

with inlays of garnets and other stones, 4” high. Musée d’Archéologie nationale, Saint-Germain-en-Laye.

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Figure 16-3 Purse cover, from the Sutton Hoo ship burial in Suffolk, England, ca. 625. Gold, glass, and cloisonné garnets, 7 1/2”

long. British Museum, London.

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Interlaced Animal Style

• Examine the European artistic traditions applied to a variety

of media, such as wood, stone, and metal.

• Notice the imagery includes intertwined ribbon-like designs

called interlacing as well as abstract animal imagery. These

design features reflect the cultures of pre-Christian Northern

Europe.

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Figure 16-4 Animal-head post, from the Viking ship burial, Oseberg, Norway, ca. 825. Wood, head 5” high. University Museum

of National Antiquities, Oslo.

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Figure 16-5 Wooden portal of the stave church at

Urnes, Norway, ca. 1050–1070.

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Hiberno-Saxon Art (6th to 10th centuries)

• Understand the Saxon artistic influence in the British Isles.

• Understand the early influence of Christianity and the ways

in which indigenous art forms serve the cause of Christianity.

• Describe the specific art elements and principles of design

applied to the illuminated manuscripts, Celtic crosses and

other objects.

• Observe the continuation of interlacing and abstract animal

imagery. Why did art used for Christian purposes retain these

qualities?

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Figure 16-6 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 16-1 Cross-inscribed 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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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 (XPI) 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.

Medieval Christian Monks

• Understand the role of Christian monks in preserving and

creating illuminated manuscripts in scriptoria

• Examine the layout of a medieval monastery

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Celtic Crosses

• Describe the specific art elements and principles of design

applied to the Celtic crosses.

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Figure 16-9 High Cross of Muiredach (east face),

Monasterboice, Ireland, 923. Sandstone, 18’ high.

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Carolingian Art (9th century – present day France and Germany)

• Understand the political and religious influences on art and

architecture during the Carolingian period.

• Understand the ‘revival of learning’ and the art of the book

as a result of Charlemagne’s interests.

• Examine the secular and religious architectural forms in the

Carolingian period.

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Figure 16-12 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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The Carolingian Renovation

• Observe how Charlemagne’s empire revived Roman art and

architectural forms. Why did he desire to do this?

• Understand the ‘revival of learning’ and the art of the book.

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Figure 16-13 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 16-14 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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Art of Charlemagne’s Court

• Examine the gold and jeweled secular and religious court art

under Charlemagne and his successors.

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Figure 16-16 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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Carolingian Architecture

• Examine the secular and religious architectural forms in the

Carolingian period.

Figure 16-17 Restored plan of the Palatine Chapel of

Charlemagne, Aachen, Germany, 792-805.

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Figure 16-18 Interior of the Palatine Chapel of

Charlemagne, Aachen, Germany, 792–805.

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Figure 16-20 Westwork of the abbey

church, Corvey, Germany, 873–885.

Figure 16-19 Schematic plan for a monastery at

Saint Gall, Switzerland, ca. 819. Red ink on

parchment, 2’ 4” X 3’ 8 1/8”. Stiftsbibliothek, Saint

Gall.

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Ottonian Art (10th century Germany)

• Examine the architecture associated with the Ottonians, its

formal origins and its later influence.

• Understand the architectural and free standing sculptural

traditions of the Ottonians.

• Compare and contrast Ottonian and Carolingian art

• Examine the styles of the Ottonian illuminated manuscripts.

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Architecture of the Ottonians

• Examine the architecture, its formal origins and its later

influence.

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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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Ottonian Sculpture

• Understand the architectural sculpture associated with St.

Michael’s at Hildesheim, Germany.

• Examine the free standing sculptural traditions of the

Ottonians.

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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. Dom-

Museum, 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. Dom-Museum, Hildesheim.

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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”. Cathedral, Cologne.

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Ottonian Illuminated Manuscripts

• Examine the appearance of the Ottonian illuminated

manuscripts.

• Notice the golden backgrounds and linear figural styles in

Ottonian illuminated manuscripts --- Ottonian leaders

developed significant contacts with the Byzantine empire.

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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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Discussion Questions

In what ways did medieval European art and architecture

depart from classical Roman art and architecture? Did any

of the civilizations retain characteristics of Roman art and

architecture? Explain.

Compare the three major manuscript styles that developed

in the Middle Ages.

What previous styles of art influenced medieval European

art?