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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9th C. ms. And 20th C. model

St. Gall, Switzerlandca. 819

11-19B Abbey of Saint-Riquier, Centula, France, 790–799, in an engraving of 1612 after a lost 11th-century

manuscript illumination. Bibliothèque Nationale, Paris.

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Figure 11-20 Westwork of the abbey church, Corvey, Germany, 873–885.

Abbey church of St. Pantaleon

Cologne, Germanyca. 966-980

Torhalle (gatehouse)

Lorsch, Germany9th century

Typical Carolingian style architecture

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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.

• Charlemagne’s ineffective grandsons divided the empire into three parts.

• This caused the exponential growth of feudalism• Weakened Empire was left vulnerable to invasions.• German ruler, Otto I, married the Lombard king’s widow, ruled over

much of Italy and was crowned emperor by the pope. – This led to years of continued conflict with the papacy and local

Italian rulers and the Holy Roman Emperor. • The Holy Roman Empire was stabilized by three successive emperors

named Otto.

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Architecture of the Ottonians

• Examine the architecture, its formal origins and its later influence.

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Figure 11-21 Nave of the

church of Saint Cyriakus,

Gernrode, Germany, 961–

973.

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Figure 11-22 Saint Michael’s, Hildesheim, Germany, 1001–

1031.

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Figure 11-23

Longitudinal

section (top) and

plan (bottom)

of the abbey

church of Saint

Michael’s,

Hildesheim,

Germany, 1001–1031.

11-23A Nave (looking east) of Saint Michael’s, Hildesheim,

1001–1031.13

Abbey Church of St. Michael’s

Hildesheim, Germanyca. 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 11-24 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.

11-25 God accusing Adam and Eve, detail of the left door of Saint Michael’s, Hildesheim,

Germany, 1015. Bronze, 1’ 10 1/8” high. Dom-Museum,

Hildesheim.

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11-26 Otto I presenting Magdeburg Cathedral to Christ, from Magdeburg

Cathedral, Magdeburg, Germany, 962–968. Ivory, 5” X 4 1/2". Metropolitan

Museum of Art, New York (gift of George Blumenthal, 1941).

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Figure 11-24A 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.

11-27 Christ blessing Otto II and Theophanu, 972–973. Ivory, 7 1/8” X 4”. Musée National du Moyen Age,

Paris.20

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Figure 11-28 Crucifix

commissioned by Archbishop

Gero for Cologne

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

Cathedral, Cologne.

Large scale Rounded forms.

Expressive realism, a hallmark of German art, in its depiction of

suffering

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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 11-29 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 Staatsbiblio

thek, Munich.

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Figure 11-30 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.

11-31 Abbess Uta dedicating her codex to the Virgin, folio 2 recto

of the Uta Codex, from Regensburg, Germany, ca. 1025. Tempera on parchment, 9 5/8” X

5 1/8”. Bayerische Staatsbibliothek, Munich.

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11-29A Jesus washing the feet of Saint Peter, folio 237 recto of the

Gospel Book of Otto III, 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?